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 Bahrain and from Beijing.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Grass Roots to the jazz kids.
I played it at Trash.
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 EPMD. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every The Searchers 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Avey Tare & Kría Brekkan,
Eddi Front,
Sam Rivers,
Stereo Dub,
Anthony Braxton,
Jesper Dahlback,
Bobby Womack,
The Residents,
Barrington Levy,
Sight & Sound,
Malaria!,
Nas,
The Alarm Clocks,
Pantytec,
Das Ding,
Be Bop Deluxe,
Eden Ahbez,
Icehouse,
The Standells,
Inner City,
Angry Samoans,
Fela Kuti,
Parry Music,
Marcia Griffiths,
Electric Prunes,
Robert Görl,
Man Parrish,
Ken Boothe,
Kurtis Blow,
Gang Starr,
The Invisible,
Todd Rundgren,
Sonic Youth,
Procol Harum,
The Shadows of Knight,
The Black Dice,
Rod Modell,
The Sonics,
Theoretical Girls,
Derrick May,
Brass Construction,
Mo-Dettes,
Max Romeo,
Half Japanese,
The Associates,
Jacques Brel,
Strawberry Alarm Clock,
Hot Snakes,
Sexual Harrassment,
Gregory Isaacs,
The Walker Brothers,
Harry Pussy,
Ronan,
Grauzone,
Boogie Down Productions,
Gerry Rafferty,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roxy Music,
Terrestrial Tones,
Funky Four + One,
Davy DMX,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.