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 Solomon Islands and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Move 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 Reagan Youth. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Masters at Work,
B.T. Express,
Lou Christie,
Colin Newman,
The Doors,
Justin Hinds & The Dominoes,
The Evens,
Kool Moe Dee,
Rhythim Is Rhythim,
Jacques Brel,
Kerri Chandler,
Cecil Taylor,
The Dead C,
Tim Buckley,
Sister Nancy,
Lucky Dragons,
Junior Murvin,
Swell Maps,
Rhythm & Sound,
Josef K,
The Buckinghams,
R.M.O.,
Scan 7,
Agitation Free,
The Move,
Marcia Griffiths,
Subhumans,
The United States of America,
Roy Ayers Ubiquity,
Dr. Dre and Snoop Doggy Dog,
Oppenheimer Analysis,
The Gladiators,
Main Source,
The Misunderstood,
Tres Demented,
Reuben Wilson,
The American Breed,
Lower 48,
Terrestrial Tones,
Girls At Our Best!,
Swans,
Interpol,
Average White Band,
D'Angelo,
UT,
Teenage Jesus and the Jerks,
The Royal Family And The Poor,
Andrew Hill,
Scion,
Avey Tare & Kría Brekkan,
Henry Cow,
Anthony Braxton,
The Chocolate Watch Band,
Nick Fraelich,
Tears for Fears,
Ultravox,
Schoolly D,
EPMD,
Vaughan Mason & Crew,
Dorothy Ashby,
This Heat, This Heat, This Heat, This Heat.
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.