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 Sweden and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1978.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Manila 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 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 Louis and Bebe Barron to the grunge kids.
I played it at the Roxy.
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 Chrome. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Tim Buckley,
It's A Beautiful Day,
Brand Nubian,
Hot Snakes,
48th St. Collective,
Sparks,
Fat Boys,
Jawbox,
Reuben Wilson,
The Tremeloes,
Sonny Sharrock,
Aswad,
Guru Guru,
Rhythim Is Rhythim,
T. Rex,
The Dirtbombs,
Terrestrial Tones,
Qualms,
Bauhaus,
Brass Construction,
Mantronix,
Bluetip,
Teenage Jesus and the Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bobby Womack,
Jerry's Kids,
Siglo XX,
Inner City,
Piero Umiliani,
Chris Corsano,
Young Marble Giants,
Soulsonic Force,
Peter and Kerry,
MDC,
Procol Harum,
The Move,
Monks,
Popol Vuh,
Whodini,
Shoche,
Davy DMX,
Gil Scott Heron,
The Skatalites,
The Dead C,
Nas,
Yusef Lateef,
Todd Rundgren,
The Barracudas,
Moebius,
Chris & Cosey,
Siouxsie and the Banshees,
Sad Lovers and Giants,
Electric Prunes,
The Royal Family And The Poor,
Japan,
Toni Rubio,
Alphaville,
Saccharine Trust,
Audionom,
kango's stein massive,
Grandmaster Flash,
The Red Krayola,
Lightning Bolt,
Magazine, Magazine, Magazine, Magazine.
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.