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 Brazil and from Woodstock.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
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 Blues Magoos to the techno 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 Adolescents. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Popol Vuh 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Rites of Spring,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
Kerrie Biddell,
Rufus Thomas,
Kool G Rap & DJ Polo,
The Doobie Brothers,
Oppenheimer Analysis,
Magazine,
A Flock of Seagulls,
Fifty Foot Hose,
Avey Tare & Kría Brekkan,
Section 25,
Steve Hackett,
Blossom Toes,
Rakim,
Nation of Ulysses,
Faraquet,
Al Stewart,
Dennis Brown,
Essential Logic,
Jeru the Damaja,
Blancmange,
Notorious Big And Bone Thugs,
Crooked Eye,
a-ha,
The Slits,
Marine Girls,
Fatback Band,
Radio Birdman,
Whodini,
Brass Construction,
Boogie Down Productions,
Half Japanese,
One Last Wish,
Dawn Penn,
The Mojo Men,
Oblivians,
These Immortal Souls,
Minny Pops,
Rotary Connection,
The Barracudas,
48th St. Collective,
Major Organ And The Adding Machine,
Babytalk,
Shuggie Otis,
Throbbing Gristle,
Peter and Kerry,
Supertramp,
Ralphi Rosario,
Jeff Mills,
Barry Ungar,
Brothers Johnson,
Cecil Taylor,
Easy Going,
Sällskapet,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.