Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Cameroon and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1975.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Minnie Riperton to the grunge kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Symarip. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Dave Gahan record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
R.M.O.,
Selector Dub Narcotic,
Howard Jones,
New Age Steppers,
Andrew Hill,
Barbara Tucker,
Qualms,
The United States of America,
L. Decosne,
The Fugs,
Sunsets and Hearts,
Animal Collective,
Derrick Morgan,
Electric Prunes,
Oneida,
Delon & Dalcan,
Lalo Schifrin,
AZ,
Blake Baxter,
The Slits,
Pantytec,
The Red Krayola,
Cluster,
Marcia Griffiths,
Soul Sonic Force,
Amon Düül,
Funkadelic,
The Monks,
Wire,
Matthew Halsall,
Fad Gadget,
Notorious BIG live in Amsterdam,
Glenn Branca,
Procol Harum,
Glambeats Corp.,
The Black Dice,
The Music Machine,
Rapeman,
Echo & the Bunnymen,
David Axelrod,
Janne Schatter,
Dave Gahan,
The Skatalites,
Aloha Tigers,
Hardrive,
Vaughan Mason & Crew,
Outsiders,
X-102,
Rites of Spring,
Tubeway Army,
Dawn Penn,
Sarah Menescal,
Mark Hollis,
Pere Ubu,
Wings,
Angels of Light & Akron/Family,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.