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 United Kingdom and from Taipei.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Bologna 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Sonics to the dance 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 Danielle Patucci. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Skarface 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Traffic Nightmare,
Television Personalities,
Ultravox,
Notorious BIG live in Amsterdam,
Derrick May,
The Men They Couldn't Hang,
Gian Franco Pienzio,
John Holt,
Andrew Hill,
Gang Starr,
Faraquet,
Echospace,
Oneida,
Bill Near,
Orchestral Manoeuvres in the Dark,
Ituana,
The Doobie Brothers,
Roy Ayers,
A Flock of Seagulls,
Scott Walker,
Warren Ellis,
JFA,
Black Pus,
X-101,
Thee Headcoats,
Sexual Harrassment,
The Royal Family And The Poor,
the Association,
Major Organ And The Adding Machine,
Franke,
Patti Smith,
Radiohead,
Rod Modell,
The Electric Prunes,
The Velvet Underground,
The Saints,
Steve Hackett,
The Selecter,
Fat Boys,
Angels of Light & Akron/Family,
Fugazi,
Unrelated Segments,
Lakeside,
Delta 5,
The Monks,
Barclay James Harvest,
Scion,
Jesper Dahlbäck,
Shuggie Otis,
Subhumans,
Zapp,
Derrick Morgan,
The Fire Engines,
Tommy Roe,
DNA,
the Fania All-Stars,
Siglo XX,
Barry Ungar,
Minny Pops,
Silicon Teens,
Minor Threat,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.