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 East Timor and from Portland.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Madrid and Cairo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Bush Tetras to the rap kids.
I played it at the Crocodile.
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 The Divine Comedy. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Eric Copeland 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 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 Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Bobby Sherman,
A Certain Ratio,
Groovy Waters,
Marc Romboy vs. Booka Shade,
Lungfish,
Sarah Menescal,
Unwound,
Mad Mike,
Juan Atkins,
The Dirtbombs,
Adolescents,
Curtis Mayfield,
Minny Pops,
D'Angelo,
It's A Beautiful Day,
X-102,
Cabaret Voltaire,
Davy DMX,
Soul Sonic Force,
Index,
Pere Ubu,
Arthur Verocai,
Buzzcocks,
Dave Gahan,
The Mojo Men,
Schoolly D,
Jandek,
Fear,
Popol Vuh,
Electric Prunes,
Inner City,
Erykah Badu,
Marc Almond,
Throbbing Gristle,
Hardrive,
Camberwell Now,
Isaac Hayes,
Gang Starr,
Notorious BIG live in Amsterdam,
The Flesh Eaters,
Peter Gordon & Love of Life Orchestra,
Crispy Ambulance,
Dr. Dre and Snoop Doggy Dog,
Gang Green,
Sixth Finger,
Bad Manners,
Trumans Water,
The Sound,
Rhythim Is Rhythim,
Eric Dolphy,
The Birthday Party,
Public Image Ltd.,
Flamin' Groovies,
John Foxx,
The Blackbyrds,
Talk Talk,
Janne Schatter,
Q and Not U,
Shuggie Otis,
Super Lover Cee & Casanova Rud,
Reagan Youth,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.