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 Spain and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Halifax 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 to the funk kids.
I played it at Trash.
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 The Saints. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
La Düsseldorf,
Todd Rundgren,
Albert Ayler,
Cheater Slicks,
Howard Jones,
Boz Scaggs,
Massinfluence,
Whodini,
Niagra,
U.S. Maple,
These Immortal Souls,
Minnie Riperton,
Subhumans,
Flipper,
Gabor Szabo,
The Seeds,
Skriet,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
Avey Tare's Slasher Flicks,
Eyeless In Gaza,
Nation of Ulysses,
Marvin Gaye,
Thee Headcoats,
The Beau Brummels,
Vaughan Mason & Crew,
Slick Rick,
Hot Snakes,
Clear Light,
Fort Wilson Riot,
Minutemen,
Underground Resistance,
Bang On A Can,
Au Pairs,
Arab on Radar,
Model 500,
The Gun Club,
Magazine,
The Pop Group,
Can,
Audionom,
Shuggie Otis,
Maurizio,
Saccharine Trust,
John Cale,
Guru Guru,
Bootsy Collins,
Pulsallama,
Siouxsie and the Banshees,
Moss Icon,
Hoover,
Stetsasonic,
Brand Nubian,
Henry Cow,
Franke,
Anthony Braxton,
The Men They Couldn't Hang,
Lee Hazlewood,
Bush Tetras,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.