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 Dominica and from Madrid.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Newcleus to the rap 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 John Coltrane. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal punk 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Mojo Men,
Hasil Adkins,
Ohio Players,
Con Funk Shun,
Jandek,
Howard Jones,
Popol Vuh,
Quando Quango,
Rakim,
Pylon,
Stockholm Monsters,
The Dave Clark Five,
The American Breed,
Blossom Toes,
Sam Rivers,
The Pop Group,
Radiopuhelimet,
EPMD,
Hoover,
Angry Samoans,
The Happenings,
Lafayette Afro Rock Band,
Tim Buckley,
Kool Moe Dee,
Essential Logic,
The Durutti Column,
Quadrant,
Section 25,
Stiv Bators,
Erasure,
Rites of Spring,
Deutsch Amerikanische Freundschaft,
Maurizio,
Johnny Clarke,
Don Cherry,
A Certain Ratio,
Jawbox,
Procol Harum,
Desert Stars,
Bootsy's Rubber Band,
UT,
The Busters,
Sunsets and Hearts,
X-101,
Oblivians,
The Electric Prunes,
Reuben Wilson,
Traffic Nightmare,
Fad Gadget,
Magazine,
Avey Tare's Slasher Flicks,
Alice Coltrane,
Piero Umiliani,
Wire,
Girls At Our Best!,
The Sisters of Mercy,
The Residents,
Brand Nubian,
Chris Corsano,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.