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 Turkey and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Franke to the techno kids.
I played it at the Troubador.
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 Letta Mbulu. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Scott Walker,
The Divine Comedy,
The Golliwogs,
Janne Schatter,
Jandek,
The Misunderstood,
Chris Corsano,
Junior Murvin,
AZ,
Moss Icon,
Rotary Connection,
Curtis Mayfield,
The Trojans,
The Buckinghams,
Laurel Aitken,
Lyres,
Graham Central Station,
The Angels of Light,
Grauzone,
Howard Jones,
Brass Construction,
The United States of America,
Sight & Sound,
Eric Copeland,
Charles Mingus,
Vaughan Mason & Crew,
Bang on a Can All-Stars,
Erasure,
Sugar Minott,
The Zeros,
David Axelrod,
June Days,
48th St. Collective,
Throbbing Gristle,
Japan,
Chrome,
Skaos,
Davy DMX,
Gregory Isaacs,
Gian Franco Pienzio,
Ultimate Spinach,
Rakim,
Vladislav Delay,
Lou Christie,
The Alarm Clocks,
Rosa Yemen,
Lizzy Mercier Descloux,
Pharoah Sanders,
Von Mondo,
Supertramp,
Circle Jerks,
Red Lorry Yellow Lorry,
Cybotron,
Chris & Cosey,
Ludus,
Art Ensemble Of Chicago,
10cc,
Niagra,
Bang On A Can,
Marshall Jefferson,
Unrelated Segments,
Barbara Tucker,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.