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 Uganda and from Tehran.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Madrid and Taipei.
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 Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Boogie Down Productions to the disco 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 Trumans Water. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Pole,
Faust,
Ultravox,
Sun Ra Arkestra,
Niagra,
Louis and Bebe Barron,
Boogie Down Productions,
Depeche Mode,
Amon Düül II,
Masters at Work,
Babytalk,
The Moleskins,
Pulsallama,
Young Marble Giants,
The Techniques,
Iggy Pop,
Yaz,
U.S. Maple,
Lyres,
Radiopuhelimet,
Slave,
Royal Trux,
Black Sheep,
Y Pants,
The Remains,
Gastr Del Sol,
Robert Wyatt,
The Barracudas,
Mary Jane Girls,
Tres Demented,
Roy Ayers Ubiquity,
Camouflage,
Gary Puckett & The Union Gap,
Television,
Radiohead,
Newcleus,
Alphaville,
Piero Umiliani,
Cabaret Voltaire,
John Coltrane,
Chris & Cosey,
Groovy Waters,
Electric Light Orchestra,
Franke,
the Swans,
CMW,
Rod Modell,
Nas,
Reuben Wilson,
Cheater Slicks,
Larry & the Blue Notes,
Josef K,
Kas Product,
Be Bop Deluxe,
The Tremeloes,
the Sonics,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter and Kerry,
Fugazi,
a-ha,
Q and Not U,
JFA,
Audionom, Audionom, Audionom, Audionom.
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.