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 United Kingdom and from Columbus.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 June of 44 to the electroclash kids.
I played it at the 40 Watt.
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 Visage. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Brand Nubian,
Sticky Fingaz feat. Raekwon,
Underground Resistance,
The Music Machine,
Gil Scott-Heron and Jamie xx,
Michelle Simonal,
Pere Ubu,
Aaron Thompson,
Kenny Larkin,
Lafayette Afro Rock Band,
Matthew Halsall,
Flash Fearless,
Sandy B,
Tropical Tobacco,
Amon Düül II,
In Retrospect,
Pierre Henry,
Kerrie Biddell,
Traffic Nightmare,
Judy Mowatt,
Echo & the Bunnymen,
Trumans Water,
Sonny Sharrock,
June Days,
The Invisible,
Minutemen,
Steve Hackett,
Dave Gahan,
Aloha Tigers,
Arab on Radar,
Sarah Menescal,
Hashim,
Pantytec,
Subhumans,
Wolf Eyes,
Graham Central Station,
Parry Music,
The Divine Comedy,
Chrome,
Skaos,
Jerry's Kids,
The Chocolate Watch Band,
Black Pus,
Danielle Patucci,
Zapp,
Peter and Kerry,
Oppenheimer Analysis,
Slick Rick,
Red Lorry Yellow Lorry,
PIL,
Joe Smooth,
The Remains,
Nik Kershaw,
a-ha,
Ralphi Rosario,
Darondo,
Tommy Roe,
Curtis Mayfield,
Brick,
Clear Light,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.