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 Zimbabwe and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Portland and Accra.
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 sitar sounds with much patience.
I was there when David Bowie 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 Move to the techno 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 Lee Hazlewood. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Gabor Szabo,
8 Eyed Spy,
Terry Callier,
Kerri Chandler,
Interpol,
Intrusion,
Boredoms,
Pulsallama,
Albert Ayler,
Fatback Band,
Japan,
PIL,
Laurel Aitken,
Parry Music,
The Evens,
H. Thieme,
Monks,
the Soft Cell,
FM Einheit,
Colin Newman,
June of 44,
Pierre Henry,
A Certain Ratio,
Index,
Sticky Fingaz feat. Raekwon,
Saccharine Trust,
Robert Hood,
Pagans,
Franke,
The Neon Judgement,
Sun Ra Arkestra,
Camberwell Now,
Black Moon,
The Beau Brummels,
Skaos,
Yazoo,
Eurythmics,
Nils Olav,
Main Source,
Barbara Tucker,
Soft Cell,
Bizarre Inc.,
James White and The Blacks,
Ossler,
Dark Day,
Gian Franco Pienzio,
Shuggie Otis,
48th St. Collective,
Supertramp,
Johnny Clarke,
Eddi Front,
Moby Grape,
Tim Buckley,
Rekid,
Quantec,
Altered Images,
The Mummies,
Teenage Jesus and the Jerks,
Kool G Rap & DJ Polo,
Dawn Penn,
The Wake, The Wake, The Wake, The Wake.
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.