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 Moldova and from Paris.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Paris 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare 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 Ash Ra Tempel to the jazz 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 Isaac Hayes. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every 48th St. Collective 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crime 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?
Model 500,
Marcia Griffiths,
Neil Young & Crazy Horse,
Lou Reed & John Cale,
Masters at Work,
JFA,
Faraquet,
Manfred Mann's Earth Band,
Porter Ricks,
The Flesh Eaters,
Carl Craig,
Arthur Verocai,
The Gladiators,
Camberwell Now,
Nils Olav,
Beasts of Bourbon,
The Smoke,
Louis and Bebe Barron,
Theoretical Girls,
Gong,
The United States of America,
Pharaoh Sanders and the Fire Engines,
Gil Scott-Heron and Jamie xx,
Fat Boys,
Bang on a Can All-Stars,
Hoover,
Todd Rundgren,
LL Cool J,
Clear Light,
Essential Logic,
Young Marble Giants,
Thee Headcoats,
Gabor Szabo,
Archie Shepp,
Deadbeat,
Bob Dylan,
Cymande,
Darondo,
Lou Reed,
a-ha,
The Slits,
Jandek,
Sex Pistols,
Cybotron,
Scott Walker + Sunn O))),
Rakim,
Motorama,
Make Up,
Urselle,
The Golliwogs,
Kevin Saunderson,
London Community Gospel Choir,
Byron Stingily,
Gian Franco Pienzio,
D'Angelo,
Spandau Ballet,
L. Decosne,
Sister Nancy,
Von Mondo,
Quando Quango,
the Sonics,
Silicon Teens,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.