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 Armenia and from Bologna.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Taipei and Jakarta.
I'm losing my edge to the art-school Bremen 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 güiro sounds with much patience.
I was there when David Bowie 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 L. Decosne to the dance kids.
I played it at the Crocodile.
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 Rhythm & Sound. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Pop Group,
Nation of Ulysses,
Donald Byrd,
The Mighty Diamonds,
Gil Scott-Heron & Brian Jackson,
Minutemen,
Grandmaster Flash,
Hardrive,
Niagra,
Lyres,
Ultramagnetic MC's,
Pharoah Sanders,
Marc Romboy vs. Booka Shade,
Alice Coltrane,
Sad Lovers and Giants,
Siouxsie and the Banshees,
UT,
Ajijia Myrayebe,
The Dave Clark Five,
kango's stein massive,
Maleditus Sound,
Max Romeo,
Rakim,
Charles Mingus,
Ornette Coleman,
Flash Fearless,
Joe Finger,
Bobby Hutcherson,
Jandek,
Arab on Radar,
Isaac Hayes,
Motorama,
Andrew Ashong & Theo Parrish,
Wally Richardson,
Albert Ayler,
Buzzcocks,
Roy Ayers,
The Martian,
The Fire Engines,
H. Thieme,
Scion,
The Peanut Butter Conspiracy,
Terror Squad Feat. Camron,
The Techniques,
Angry Samoans,
Joensuu 1685,
Livin' Joy,
Pagans,
Qualms,
B.T. Express,
Bluetip,
10cc,
Bob Dylan,
Porter Ricks,
Lucky Dragons,
Moss Icon,
The Chocolate Watch Band,
Gong,
the Bar-Kays,
Avey Tare & Kría Brekkan,
Tim Buckley,
The Remains,
Eric Copeland,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.