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 Kenya and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
I'm losing my edge to the art-school Mexico City 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Youth Brigade to the electroclash kids.
I played it at Cafe Wha.
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 Kings Of Tomorrow. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Alison Limerick,
Goldenarms,
Organ,
The Mummies,
Eli Mardock,
Brand Nubian,
Fela Kuti,
Bobbi Humphrey,
Spandau Ballet,
Iggy Pop,
Cybotron,
K-Klass,
Accadde A,
Absolute Body Control,
Bob Dylan,
Notorious Big And Bone Thugs,
Gil Scott-Heron & Brian Jackson,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
T.S.O.L.,
Crash Course in Science,
The Moody Blues,
Eden Ahbez,
Gabor Szabo,
Sun Ra,
Deutsch Amerikanische Freundschaft,
Duran Duran,
Pharoah Sanders,
Saccharine Trust,
Soft Machine,
Anthony Braxton,
Anakelly,
The Victims,
The Velvet Underground,
Joe Finger,
Nirvana,
Marshall Jefferson,
X-101,
PIL,
Avey Tare's Slasher Flicks,
Icehouse,
Tom Boy,
MC5,
Brothers Johnson,
Quadrant,
the Germs,
Dorothy Ashby,
Stereo Dub,
Mo-Dettes,
Scion,
Adolescents,
Guru Guru,
Flash Fearless,
LL Cool J,
Vaughan Mason & Crew,
the Bar-Kays,
Lindisfarne,
Avey Tare & Kría Brekkan,
Black Moon, Black Moon, Black Moon, Black Moon.
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.