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 Gambia and from Lille.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 The Wake to the techno kids.
I played it at Trash.
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 a-ha. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
James Chance & The Contortions,
The Martian,
The Saints,
MDC,
the Germs,
Fort Wilson Riot,
Boredoms,
Agitation Free,
Roxy Music,
Fugazi,
Lou Reed,
Audionom,
Fluxion,
Eli Mardock,
D'Angelo,
The Jesus and Mary Chain,
Leonard Cohen,
The Slackers,
Drexciya,
A Certain Ratio,
Lyres,
Kool G Rap & DJ Polo,
Q and Not U,
Tres Demented,
Bush Tetras,
Amon Düül II,
Pharoah Sanders,
Shuggie Otis,
Judy Mowatt,
CMW,
Royal Trux,
The Skatalites,
Neu!,
Y Pants,
Spoonie Gee,
Lalann,
Animal Collective,
Maleditus Sound,
The Pretty Things,
Avey Tare's Slasher Flicks,
Archie Shepp,
Eurythmics,
Jesper Dahlback,
Tropical Tobacco,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Alarm Clocks,
Kool Moe Dee,
Half Japanese,
Marc Almond,
Hashim,
Joy Division,
Oblivians,
Freddie Wadling,
Pagans,
Masters at Work,
Wasted Youth,
The Vogues,
Arcadia,
Tom Boy,
Country Joe & The Fish,
Supertramp, Supertramp, Supertramp, Supertramp.
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.