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 Madagascar and from Woodstock.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Cairo 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Deadbeat to the electroclash kids.
I played it at CBGB's.
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 Hot Snakes. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Can 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Malaria!,
Kurtis Blow,
Kerrie Biddell,
Bang On A Can,
Mary Jane Girls,
Section 25,
The Moody Blues,
Monks,
Sexual Harrassment,
Lalo Schifrin,
Isaac Hayes,
Notorious Big And Bone Thugs,
Warsaw,
Circle Jerks,
Sex Pistols,
Eden Ahbez,
Hasil Adkins,
Excepter,
Bobbi Humphrey,
Anakelly,
Heaven 17,
Alphaville,
Tommy Roe,
Gregory Isaacs,
Mo-Dettes,
Unwound,
Model 500,
Vaughan Mason & Crew,
The Jesus and Mary Chain,
Graham Central Station,
Desert Stars,
Adolescents,
Jeru the Damaja,
UT,
DJ Sneak,
The Human League,
Colin Newman,
Fifty Foot Hose,
Eddi Front,
Pantaleimon,
Art Ensemble Of Chicago,
Slick Rick,
The Dead C,
Ten City,
Japan,
Beasts of Bourbon,
Eyeless In Gaza,
Skarface,
Los Fastidios,
Ultramagnetic MC's,
The Alarm Clocks,
Mad Mike,
Gang of Four,
Oneida,
Bobby Sherman,
Guru Guru,
Minor Threat,
Spoonie Gee,
Television Personalities,
Andrew Ashong & Theo Parrish,
Magazine, Magazine, Magazine, Magazine.
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.