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 Venezuela and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 The Trojans to the rock kids.
I played it at the Crocodile.
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 Joe Finger. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
The Shadows of Knight,
Blake Baxter,
Michelle Simonal,
The Fall,
Deutsch Amerikanische Freundschaft,
Skriet,
Sonny Sharrock,
Soft Machine,
Banda Bassotti,
Drexciya,
Moby Grape,
Silicon Teens,
Niagra,
Scrapy,
Idris Muhammad,
Aural Exciters,
The Angels of Light,
Jandek,
Barry Ungar,
Stetsasonic,
Quando Quango,
Roxette,
Jerry Gold Smith,
T.S.O.L.,
Marine Girls,
Lakeside,
KRS-One,
ABBA,
The Standells,
Zapp,
Country Teasers,
The Cowsills,
Peter and Kerry,
The Remains,
The Smiths,
The Music Machine,
Stereo Dub,
Cymande,
Delon & Dalcan,
the Normal,
David Axelrod,
Nirvana,
The Velvet Underground,
Selector Dub Narcotic,
Iggy Pop,
Maleditus Sound,
Amon Düül,
Joensuu 1685,
Brick,
Eurythmics,
Erykah Badu,
John Lydon,
Guru Guru,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
London Community Gospel Choir,
Fort Wilson Riot,
Brand Nubian,
Q and Not U,
The Count Five,
The Slackers,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.