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 Congo and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Philadelphia 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 oboe 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 The Doobie Brothers to the crunk 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 Joey Negro. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal techno 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 snare and a güiro 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 a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Porter Ricks,
Soft Cell,
Deadbeat,
Guru Guru,
Althea and Donna,
The Golliwogs,
Eric Copeland,
Mad Mike,
Neil Young & Crazy Horse,
Nas,
Fela Kuti,
Crispian St. Peters,
Mo-Dettes,
X-101,
These Immortal Souls,
Big Daddy Kane,
The Men They Couldn't Hang,
Fluxion,
The J.B.'s,
The Index,
Arab on Radar,
The Smoke,
Reagan Youth,
Crash Course in Science,
Archie Shepp,
Derrick Morgan,
Marc Almond,
Bauhaus,
Negative Approach,
Ituana,
Suburban Knight,
The Knickerbockers,
Angels of Light & Akron/Family,
Drexciya,
JFA,
Ornette Coleman,
Laurel Aitken,
EPMD,
Echo & the Bunnymen,
Hoover,
Scratch Acid,
Funky Four + One,
The Moody Blues,
Lebanon Hanover,
The Shadows of Knight,
Bluetip,
Toni Rubio,
Man Parrish,
The Fire Engines,
It's A Beautiful Day,
Terror Squad Feat. Camron,
the Normal,
The Fugs,
Scion,
Flamin' Groovies,
David Axelrod,
Art Ensemble Of Chicago,
Funkadelic,
Flash Fearless,
Joe Finger,
Ronnie Foster,
the Bar-Kays,
Unwound, Unwound, Unwound, Unwound.
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.