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 Sweden and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Tokyo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Move to the dance kids.
I played it at the 40 Watt.
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 Major Organ And The Adding Machine. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Dual Sessions,
Gil Scott-Heron & Brian Jackson,
Silicon Teens,
Swell Maps,
Sad Lovers and Giants,
The Grass Roots,
Rhythim Is Rhythim,
Amazonics,
Avey Tare & Kría Brekkan,
It's A Beautiful Day,
Connie Case,
T. Rex,
Idris Muhammad,
Section 25,
Johnny Osbourne,
Grey Daturas,
R.M.O.,
Camberwell Now,
The Cramps,
The Modern Lovers,
The Dead C,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
X-102,
Joensuu 1685,
Absolute Body Control,
MDC,
The Velvet Underground,
Gil Scott Heron,
Gian Franco Pienzio,
Tomorrow,
Liaisons Dangereuses,
Chrome,
Lucky Dragons,
The Fall,
Porter Ricks,
Anthony Braxton,
Kool G Rap & DJ Polo,
The Count Five,
Gastr Del Sol,
Laurel Aitken,
Flash Fearless,
Sound Behaviour,
Drive Like Jehu,
Inner City,
Massinfluence,
Sam Rivers,
Bush Tetras,
The Offenders,
Colin Newman,
Mr. Review,
Ralphi Rosario,
DeepChord presents Echospace,
James Chance & The Contortions,
Roxy Music,
Public Image Ltd.,
Crispy Ambulance,
Charles Mingus,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.