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 Armenia and from Columbus.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Charles Mingus to the crunk kids.
I played it at the Hacienda.
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 Idris Muhammad. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Y Pants,
Rekid,
Accadde A,
Erasure,
The Gun Club,
David McCallum,
Japan,
Derrick May,
Sly & The Family Stone,
Young Marble Giants,
Jimmy McGriff,
Crispian St. Peters,
Cluster,
Can,
Terrestrial Tones,
Grauzone,
Siouxsie and the Banshees,
Spoonie Gee,
Joy Division,
Shuggie Otis,
Sight & Sound,
Ohio Players,
Soulsonic Force,
Agitation Free,
Henry Cow,
Lalann,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric Copeland,
Larry & the Blue Notes,
Scott Walker + Sunn O))),
The Doors,
Soul II Soul,
Negative Approach,
Scratch Acid,
The Busters,
Sex Pistols,
Zero Boys,
Sun Ra Arkestra,
Notorious Big And Bone Thugs,
X-102,
Brothers Johnson,
Excepter,
Robert Hood,
Jawbox,
Dorothy Ashby,
A Certain Ratio,
Suicide,
Derrick Morgan,
Minny Pops,
Motorama,
Ultramagnetic MC's,
Heaven 17,
Eric B and Rakim,
Fluxion,
Jerry's Kids,
Sound Behaviour,
Banda Bassotti,
Nils Olav,
Parry Music,
The Royal Family And The Poor,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.