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 Mexico and from Salvador.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Junior Murvin to the jazz 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 Pantaleimon. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Talk Talk 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Metal Thangz,
Sugar Minott,
8 Eyed Spy,
Peter and Kerry,
Adolescents,
Bobby Byrd,
The Red Krayola,
Iggy Pop,
Wolf Eyes,
Sparks,
Panda Bear,
James Chance & The Contortions,
Tres Demented,
Agitation Free,
Josef K,
Eric Dolphy,
Ken Boothe,
Tom Boy,
Gang of Four,
Rufus Thomas,
Japan,
Schoolly D,
Wally Richardson,
In Retrospect,
The Fall,
Sister Nancy,
Radio Birdman,
The Standells,
Terry Callier,
Danielle Patucci,
Roy Ayers Ubiquity,
David Axelrod,
Boz Scaggs,
Soft Cell,
Althea and Donna,
Bobby Womack,
Parry Music,
Mandrill,
Ituana,
Mr. Review,
The Names,
Black Sheep,
Big Daddy Kane,
The Cure,
Bob Dylan,
Funky Four + One,
Stetsasonic,
Camberwell Now,
Yaz,
Marvin Gaye,
New Age Steppers,
Faraquet,
Nas,
Popol Vuh,
R.M.O.,
The Happenings,
Henry Cow,
Black Flag,
Avey Tare's Slasher Flicks,
Albert Ayler,
Minny Pops,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.