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 Vietnam and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Josef K to the funk kids.
I played it at the Spitz.
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 The Young Rascals. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Todd Rundgren,
Clear Light,
Fluxion,
UT,
Little Man,
Scan 7,
Joey Negro,
Section 25,
Ten City,
Jandek,
Ituana,
Eyeless In Gaza,
The Gun Club,
Andrew Ashong & Theo Parrish,
Soulsonic Force,
Sound Behaviour,
Pantaleimon,
Country Teasers,
Selector Dub Narcotic,
Tom Boy,
Bauhaus,
Stiv Bators,
The Mummies,
Ice-T,
The Motions,
Symarip,
Half Japanese,
Janne Schatter,
The Music Machine,
The Smiths,
Dark Day,
Aswad,
The Skatalites,
Nils Olav,
Wire,
Au Pairs,
The Seeds,
Joyce Sims,
Sad Lovers and Giants,
Rahsaan Roland Kirk,
kango's stein massive,
Desert Stars,
The Stooges,
Kool Moe Dee,
Echospace,
Ultimate Spinach,
Oppenheimer Analysis,
Bobby Womack,
Pete Rock & C.L. Smooth,
Traffic Nightmare,
Crime,
Lyres,
Metal Thangz,
The Martian,
the Association,
Soft Machine,
Deutsch Amerikanische Freundschaft,
Strawberry Alarm Clock,
Inner City,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.