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 Uruguay and from Taipei.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Winnipeg 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 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 Oblivians to the disco 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 Animal Collective. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Eden Ahbez,
Michelle Simonal,
Gary Puckett & The Union Gap,
The Skatalites,
Aaron Thompson,
Vaughan Mason & Crew,
Can,
Sex Pistols,
Soul II Soul,
Hashim,
Alison Limerick,
Youth Brigade,
Lou Reed,
Siouxsie and the Banshees,
Shuggie Otis,
Masters at Work,
Audionom,
La Düsseldorf,
The Wake,
The Alarm Clocks,
Niagra,
Echospace,
Nick Fraelich,
Banda Bassotti,
Toni Rubio,
Joe Finger,
Lalo Schifrin,
James White and The Blacks,
One Last Wish,
Con Funk Shun,
Underground Resistance,
Accadde A,
Maleditus Sound,
Minutemen,
Model 500,
John Holt,
The Young Rascals,
Todd Terry,
Gil Scott Heron,
Sunsets and Hearts,
Alton Ellis,
Soulsonic Force,
Bootsy Collins,
This Heat,
Dead Boys,
Pierre Henry,
Gregory Isaacs,
Section 25,
Quando Quango,
Arab on Radar,
Gabor Szabo,
The Tremeloes,
Tropical Tobacco,
Joey Negro,
Avey Tare's Slasher Flicks,
Interpol,
Kango’s Stein Massive,
Stockholm Monsters,
The Invisible,
Aswad,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.