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 Egypt and from Spokane.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
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 Piero Umiliani to the grunge kids.
I played it at the Troubador.
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 Slits. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Todd Rundgren,
Tears for Fears,
Audionom,
Bill Wells,
Magazine,
The Music Machine,
Archie Shepp,
Pole,
Tim Buckley,
Jawbox,
Brothers Johnson,
Mandrill,
the Slits,
Marshall Jefferson,
Soul Sonic Force,
The Litter,
Reagan Youth,
Funkadelic,
Electric Prunes,
Avey Tare's Slasher Flicks,
The Golliwogs,
The Victims,
Fort Wilson Riot,
Agitation Free,
Siglo XX,
Gong,
The Motions,
Jerry's Kids,
Kango’s Stein Massive,
Underground Resistance,
The United States of America,
Eric B and Rakim,
Rhythm & Sound,
H. Thieme,
Crispian St. Peters,
T.S.O.L.,
James Chance & The Contortions,
Suicide,
ABC,
Half Japanese,
Crash Course in Science,
The West Coast Pop Art Experimental Band,
Tomorrow,
Black Moon,
Roger Hodgson,
Mars,
Das Ding,
Qualms,
Cymande,
Heavy D & The Boyz,
Moss Icon,
Flipper,
Shuggie Otis,
Roxette,
Scott Walker,
Marvin Gaye,
Black Pus,
Deutsch Amerikanische Freundschaft,
Kayak,
The Remains,
Jandek,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.