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 Vanuatu and from Johannesburg.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Donald Byrd to the disco 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 Glambeats Corp.. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
FM Einheit,
MC5,
Easy Going,
Ohio Players,
The Count Five,
The Evens,
DNA,
Q and Not U,
Sly & The Family Stone,
Captain Beefheart & His Magic Band,
Wolf Eyes,
Kool G Rap & DJ Polo,
Depeche Mode,
Roy Ayers Ubiquity,
the Germs,
Quantec,
Bill Near,
Groovy Waters,
Fluxion,
Stockholm Monsters,
Kenny Larkin,
Rotary Connection,
Das Ding,
Spandau Ballet,
AZ,
Rod Modell,
Carl Craig,
Underground Resistance,
Graham Central Station,
Scratch Acid,
Gary Puckett & The Union Gap,
The Barracudas,
Quadrant,
The Dead C,
World's Most,
Lucky Dragons,
Deepchord,
Super Lover Cee & Casanova Rud,
Tropical Tobacco,
The Mighty Diamonds,
Circle Jerks,
David Bowie,
Howard Jones,
Crime,
Franke,
Aswad,
Scion,
The Monks,
Mars,
Albert Ayler,
Sex Pistols,
Kurtis Blow,
DJ Sneak,
Severed Heads,
Joe Finger,
Scan 7,
Siglo XX,
Fela Kuti,
Audionom,
Gil Scott-Heron & Brian Jackson,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.