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 Palau and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Yaz to the dance 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 Brothers Johnson. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Jimmy McGriff,
Magazine,
The Pop Group,
Rapeman,
The Beau Brummels,
Archie Shepp,
Animal Collective,
Danielle Patucci,
Avey Tare's Slasher Flicks,
Strawberry Alarm Clock,
Barry Ungar,
JFA,
Public Enemy,
World's Most,
Unwound,
Andrew Ashong & Theo Parrish,
Vladislav Delay,
Brass Construction,
Boogie Down Productions,
Quando Quango,
Ash Ra Tempel,
Sight & Sound,
Minnie Riperton,
Robert Görl,
The Victims,
Colin Newman,
Swans,
The Detroit Cobras,
Eric Dolphy,
Scrapy,
Wally Richardson,
Lou Reed,
Loose Ends,
The Fuzztones,
Lou Reed & Metallica,
Bobby Byrd,
L. Decosne,
The Tremeloes,
Pete Rock & C.L. Smooth,
Essential Logic,
Curtis Mayfield,
The Last Poets,
The Martian,
Tommy Roe,
The Misunderstood,
New York Dolls,
Ohio Players,
Ronnie Foster,
Pet Shop Boys,
The Moody Blues,
Larry & the Blue Notes,
The Motions,
Fela Kuti,
Tropical Tobacco,
Sugar Minott,
Art Ensemble Of Chicago,
Eric Copeland,
The Velvet Underground,
The Mojo Men,
Dennis Brown,
Bang On A Can,
Chrome, Chrome, Chrome, Chrome.
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.