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 Comoros and from Accra.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
I'm losing my edge to the art-school Woodstock 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Jesper Dahlbäck to the rap 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 kango's stein massive. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Robert Görl record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Tommy Roe,
Nation of Ulysses,
The Trojans,
The Move,
Hasil Adkins,
Motorama,
Das Ding,
Porter Ricks,
The Fire Engines,
Qualms,
Saccharine Trust,
Deutsch Amerikanische Freundschaft,
kango's stein massive,
Connie Case,
Average White Band,
Robert Görl,
Dark Day,
Sun Ra Arkestra,
Nas,
Livin' Joy,
Grandmaster Flash,
Roy Ayers Ubiquity,
James White and The Blacks,
Eddi Front,
Ponytail,
MDC,
Teenage Jesus and the Jerks,
Electric Light Orchestra,
FM Einheit,
Pharoah Sanders,
Janne Schatter,
Arab on Radar,
The Index,
Larry & the Blue Notes,
Lalann,
Bobby Womack,
Ultimate Spinach,
Marcia Griffiths,
Electric Prunes,
Scientists,
Half Japanese,
The Slits,
Bang on a Can All-Stars,
Dead Boys,
Marine Girls,
Gang Starr,
Black Sheep,
This Heat,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Siouxsie and the Banshees,
Bootsy Collins,
Neil Young,
Mantronix,
H. Thieme,
Flamin' Groovies,
Nico,
Stockholm Monsters,
F. McDonald,
Godley & Creme,
Minnie Riperton,
The Names,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.