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 Australia and from Philadelphia.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
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 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 Litter to the grime kids.
I played it at the 40 Watt.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every The Young Rascals 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 '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Monks,
Zapp,
Amazonics,
Cal Tjader,
the Human League,
Sound Behaviour,
Arcadia,
Skaos,
Newcleus,
R.M.O.,
Spandau Ballet,
Flipper,
Lou Reed,
Roger Hodgson,
the Association,
The Invisible,
Neu!,
Sight & Sound,
John Holt,
Thee Headcoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Japan,
Suburban Knight,
Country Teasers,
Lee Hazlewood,
Lou Christie,
Brothers Johnson,
Supertramp,
Essential Logic,
Qualms,
The Last Poets,
Harpers Bizarre,
Bill Wells,
Y Pants,
The Count Five,
The Pretty Things,
Andrew Hill,
Notorious Big And Bone Thugs,
Jerry Gold Smith,
June Days,
The Cowsills,
Soulsonic Force,
AZ,
Althea and Donna,
Stetsasonic,
The Doors,
The Knickerbockers,
The Music Machine,
The Skatalites,
The Durutti Column,
Animal Collective,
Nas,
The Associates,
Frankie Knuckles,
Rotary Connection,
Dual Sessions,
The United States of America,
Ken Boothe,
Rapeman,
Erasure,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.