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 Botswana and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba 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 Kool Moe Dee to the dance 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 The Saints. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal rock 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 oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
The Remains,
Harpers Bizarre,
The Music Machine,
Malaria!,
The Beau Brummels,
Stereo Dub,
Intrusion,
Royal Trux,
Radiopuhelimet,
Mark Hollis,
Super Lover Cee & Casanova Rud,
The Velvet Underground,
Pylon,
The Monochrome Set,
Quantec,
Rapeman,
The Associates,
The Fuzztones,
The United States of America,
Lyres,
Don Cherry,
the Association,
Idris Muhammad,
Roxy Music,
Röyhkä ja Rättö ja Lehtisalo,
Dr. Dre and Snoop Doggy Dog,
The Fall,
Cal Tjader,
John Lydon,
Kool G Rap & DJ Polo,
Cybotron,
Buzzcocks,
Barbara Tucker,
Fad Gadget,
Skarface,
Aswad,
Suicide,
Bootsy Collins,
Lucky Dragons,
OOIOO,
Quadrant,
Negative Approach,
Grey Daturas,
Hot Snakes,
Severed Heads,
Con Funk Shun,
Bluetip,
Gary Puckett & The Union Gap,
Sparks,
Flamin' Groovies,
The Men They Couldn't Hang,
Main Source,
Strawberry Alarm Clock,
Fat Boys,
X-102,
H. Thieme,
Danielle Patucci,
Stockholm Monsters,
A Certain Ratio,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.