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 Syria and from Milan.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Stockholm 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 spring reverb 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 Pylon to the rap 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 Loose Ends. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Marshall Jefferson,
Make Up,
Pole,
Nas,
The Mojo Men,
Circle Jerks,
Echo & the Bunnymen,
MC5,
Lizzy Mercier Descloux,
Animal Collective,
Kenny Larkin,
Yusef Lateef,
Tears for Fears,
Mad Mike,
Gil Scott-Heron & Brian Jackson,
Mantronix,
Kurtis Blow,
PIL,
The Move,
U.S. Maple,
Siglo XX,
Sly & The Family Stone,
Arab on Radar,
Banda Bassotti,
Ponytail,
Be Bop Deluxe,
Cybotron,
The Fuzztones,
The Seeds,
Art Ensemble Of Chicago,
Deepchord,
kango's stein massive,
Lou Reed,
Faraquet,
Roy Ayers Ubiquity,
Juan Atkins,
Liaisons Dangereuses,
The Durutti Column,
Justin Hinds & The Dominoes,
Davy DMX,
Bootsy Collins,
The New Christs,
Robert Wyatt,
The Wake,
Ludus,
Wasted Youth,
The Gap Band,
Radiopuhelimet,
Scion,
The Gladiators,
Marvin Gaye,
The United States of America,
The Doobie Brothers,
The Invisible,
Sun Ra Arkestra,
Albert Ayler,
Brand Nubian,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.