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 Ireland and from Sao Paulo.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manchester and New York.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Avey Tare's Slasher Flicks 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 Whodini. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Warren Ellis,
Byron Stingily,
Jacques Brel,
Simply Red,
Jesper Dahlbäck,
Justin Hinds & The Dominoes,
Black Sheep,
Can,
Von Mondo,
Sight & Sound,
Marc Romboy vs. Booka Shade,
Deakin,
Mars,
Michelle Simonal,
Rowland S Howard / Lydia Lunch,
Glambeats Corp.,
Stiv Bators,
The Busters,
Roxy Music,
Neu!,
Red Lorry Yellow Lorry,
Black Flag,
The Smiths,
Al Stewart,
Index,
Cal Tjader,
Yellowson,
48th St. Collective,
Peter & Gordon,
The Flesh Eaters,
The Pretty Things,
Suburban Knight,
New York Dolls,
Oneida,
Adolescents,
Rufus Thomas,
Zero Boys,
Zapp,
Patti Smith,
Roxette,
The Invisible,
Youth Brigade,
Aaron Thompson,
Qualms,
Chris Corsano,
Silicon Teens,
Graham Central Station,
The Zeros,
Derrick Morgan,
The West Coast Pop Art Experimental Band,
John Holt,
Au Pairs,
One Last Wish,
Tubeway Army,
Terrestrial Tones,
Stockholm Monsters,
Gary Puckett & The Union Gap,
Altered Images,
Gang of Four,
Faust, Faust, Faust, Faust.
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.