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 Dominican Republic and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Portland 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 Brothers Johnson to the rock kids.
I played it at the Hacienda.
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 Oblivians. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Audionom,
Red Lorry Yellow Lorry,
The Residents,
Silicon Teens,
Gastr Del Sol,
Manfred Mann's Earth Band,
Bush Tetras,
Joe Finger,
Cymande,
Rhythm & Sound,
Brand Nubian,
Siouxsie and the Banshees,
Symarip,
Neil Young & Crazy Horse,
Rahsaan Roland Kirk,
Amon Düül,
A Flock of Seagulls,
Massinfluence,
Quantec,
kango's stein massive,
Kerri Chandler,
The Sonics,
Pete Rock & C.L. Smooth,
K-Klass,
Camron Feat. Memphis Bleek And Beenie Seigel,
Graham Central Station,
Todd Terry,
Soul II Soul,
Bobby Byrd,
The Fall,
Jesper Dahlbäck,
Lyres,
Shuggie Otis,
Juan Atkins,
World's Most,
Maleditus Sound,
The Human League,
Boredoms,
The Standells,
Jesper Dahlback,
Glambeats Corp.,
Avey Tare's Slasher Flicks,
The Dirtbombs,
The American Breed,
Althea and Donna,
Jeff Lynne,
Khruangbin,
X-Ray Spex,
8 Eyed Spy,
the Germs,
Angry Samoans,
Captain Beefheart & His Magic Band,
Swell Maps,
Porter Ricks,
Ohio Players,
Sexual Harrassment,
In Retrospect,
Donald Byrd,
Surgeon,
Roxy Music,
Robert Hood,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.