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 Seoul.
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 1974.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Alton Ellis to the techno kids.
I played it at the Hacienda.
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 Soft Machine. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal punk 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 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 Anthony Braxton record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
The Cosmic Jokers,
Nik Kershaw,
the Association,
The Dave Clark Five,
Babytalk,
Todd Terry,
D'Angelo,
Absolute Body Control,
Soul II Soul,
Agent Orange,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Althea and Donna,
Faust,
Strawberry Alarm Clock,
Zero Boys,
The Busters,
Massinfluence,
Gang of Four,
Sparks,
Quadrant,
Infiniti,
Boz Scaggs,
The Mighty Diamonds,
The Chocolate Watch Band,
Peter Gordon & Love of Life Orchestra,
Minor Threat,
Notorious Big And Bone Thugs,
Sight & Sound,
Aswad,
Camberwell Now,
Major Organ And The Adding Machine,
Connie Case,
T.S.O.L.,
Nils Olav,
Tubeway Army,
AZ,
Sound Behaviour,
Terry Callier,
It's A Beautiful Day,
Jacques Brel,
Lou Reed & John Cale,
the Soft Cell,
Deutsch Amerikanische Freundschaft,
The J.B.'s,
Magazine,
Fela Kuti,
The Mojo Men,
Bizarre Inc.,
Piero Umiliani,
Amon Düül,
Sandy B,
The Doors,
Kevin Saunderson,
The Jesus and Mary Chain,
Con Funk Shun,
ABBA,
Rekid,
This Heat,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.