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 Nicaragua and from Manila.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Crime to the techno kids.
I played it at the Roxy.
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 Parry Music. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Jeru the Damaja 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 a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Faraquet,
Donald Byrd,
Flash Fearless,
The Buckinghams,
Los Fastidios,
Letta Mbulu,
The Red Krayola,
Vaughan Mason & Crew,
Todd Rundgren,
New York Dolls,
Chris Corsano,
U.S. Maple,
Drive Like Jehu,
Lebanon Hanover,
Section 25,
Boredoms,
MDC,
Sparks,
Vainqueur,
Gerry Rafferty,
De La Soul & Jungle Brothers,
Con Funk Shun,
Be Bop Deluxe,
Darondo,
Selector Dub Narcotic,
Big Daddy Kane,
Soft Cell,
Von Mondo,
James White and The Blacks,
Motorama,
Godley & Creme,
Junior Murvin,
Glambeats Corp.,
Glenn Branca,
Cybotron,
Freddie Wadling,
Skarface,
Kings Of Tomorrow,
John Coltrane,
The Monks,
China Crisis,
The Zeros,
Sound Behaviour,
Nas,
Notorious BIG live in Amsterdam,
Ultra Naté,
Oneida,
The Barracudas,
The Evens,
Art Ensemble Of Chicago,
Sun Ra,
Ajijia Myrayebe,
Avey Tare's Slasher Flicks,
The Offenders,
Lou Reed,
Leonard Cohen,
Pulsallama,
Tropical Tobacco,
The Velvet Underground,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.