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 Netherlands and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Hoover to the techno kids.
I played it at the Spitz.
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 Bobby Hutcherson. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Gichy Dan 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Neil Young & Crazy Horse,
Tropical Tobacco,
The Knickerbockers,
The Fuzztones,
Peter and Kerry,
Masters at Work,
Cheater Slicks,
Public Enemy,
Dual Sessions,
Major Organ And The Adding Machine,
Sonny Sharrock,
Ralphi Rosario,
Oblivians,
Dr. Dre and Snoop Doggy Dog,
The Star Department,
Curtis Mayfield,
Boredoms,
Al Stewart,
Michelle Simonal,
Flash Fearless,
Chrome,
The Saints,
Ultimate Spinach,
Super Lover Cee & Casanova Rud,
The Fall,
Q65,
Niagra,
DJ Sneak,
The Mighty Diamonds,
Livin' Joy,
Joyce Sims,
Rhythm & Sound,
Warsaw,
Johnny Osbourne,
The Fortunes,
Slick Rick,
This Heat,
Lakeside,
Black Bananas,
Bizarre Inc.,
Beasts of Bourbon,
Icehouse,
The Young Rascals,
John Coltrane,
The United States of America,
Toni Rubio,
Qualms,
Avey Tare's Slasher Flicks,
Barry Ungar,
Todd Rundgren,
the Fania All-Stars,
Kerrie Biddell,
Fluxion,
The Detroit Cobras,
Underground Resistance,
Joensuu 1685,
Unwound,
Magma,
Funky Four + One,
48th St. Collective,
PIL,
Pharaoh Sanders and the Fire Engines,
The Slits, The Slits, The Slits, The Slits.
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.