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 Nicaragua and from Spokane.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Salvador 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 snare 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 Shuggie Otis to the rap kids.
I played it at the Troubador.
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 The Doobie Brothers. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every La Düsseldorf 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 '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Aaron Thompson,
Bizarre Inc.,
DeepChord presents Echospace,
A Certain Ratio,
Warren Ellis,
Stiv Bators,
Spandau Ballet,
the Normal,
Nils Olav,
Rites of Spring,
Orchestral Manoeuvres in the Dark,
The Smiths,
Wire,
Con Funk Shun,
Mark Hollis,
Marc Romboy vs. Booka Shade,
Jerry's Kids,
Ten City,
Deepchord,
David Bowie,
Peter & Gordon,
T. Rex,
Boz Scaggs,
The Cure,
Donald Byrd,
Isaac Hayes,
The Fugs,
The Grass Roots,
Lakeside,
Bad Manners,
Amon Düül II,
a-ha,
Ultramagnetic MC's,
Reuben Wilson,
The Associates,
The Modern Lovers,
Teenage Jesus and the Jerks,
The Detroit Cobras,
The Walker Brothers,
Bill Near,
The Move,
Be Bop Deluxe,
Kerri Chandler,
Bootsy Collins,
Arab on Radar,
Thompson Twins,
Jesper Dahlbäck,
Tubeway Army,
The Real Kids,
Jerry Gold Smith,
The Beau Brummels,
Pantytec,
Lou Christie,
Hashim,
Ultravox,
FM Einheit,
48th St. Collective,
Delon & Dalcan,
Laurel Aitken,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.