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 Serbia and from Bologna.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Seoul and Milan.
I'm losing my edge to the art-school Portland 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Livin' Joy to the rock kids.
I played it at Cafe Wha.
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 Eric Copeland. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Simply Red 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 '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Bush Tetras,
Black Bananas,
Rhythm & Sound,
Depeche Mode,
Kas Product,
The Toasters,
Johnny Osbourne,
Audionom,
A Certain Ratio,
Public Image Ltd.,
Q and Not U,
Pagans,
Orchestral Manoeuvres in the Dark,
48th St. Collective,
Soul II Soul,
Drexciya,
Skarface,
Avey Tare's Slasher Flicks,
Albert Ayler,
Motorama,
The Residents,
Terrestrial Tones,
Scan 7,
Archie Shepp,
CMW,
Scrapy,
Country Teasers,
The Moleskins,
The West Coast Pop Art Experimental Band,
The Offenders,
Moss Icon,
Minor Threat,
Ossler,
The Mummies,
Röyhkä ja Rättö ja Lehtisalo,
Hoover,
Aloha Tigers,
Jesper Dahlbäck,
The Mojo Men,
Wally Richardson,
T. Rex,
Organ,
Notorious Big And Bone Thugs,
The Evens,
Pantaleimon,
Ice-T,
Nick Fraelich,
Hot Snakes,
Eden Ahbez,
The Velvet Underground,
Harmonia,
Sound Behaviour,
Rites of Spring,
Rowland S Howard / Lydia Lunch,
The Grass Roots,
Eddi Front,
DeepChord presents Echospace,
Animal Collective,
The Neon Judgement,
The Divine Comedy,
Scott Walker + Sunn O))),
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.