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 Latvia and from Mexico City.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Taipei and Columbus.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Sonny Sharrock to the dance kids.
I played it at the Spitz.
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 The Electric Prunes. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Ralphi Rosario,
FM Einheit,
Tubeway Army,
Deutsch Amerikanische Freundschaft,
Vladislav Delay,
The Dave Clark Five,
Jerry Gold Smith,
New Age Steppers,
Theoretical Girls,
Oneida,
Youth Brigade,
Maurizio,
Al Stewart,
Shuggie Otis,
Bill Wells,
Popol Vuh,
X-101,
The Selecter,
Darondo,
R.M.O.,
Gian Franco Pienzio,
Zapp,
Crispy Ambulance,
Jerry's Kids,
Eve St. Jones,
Section 25,
Jawbox,
The Trojans,
Pussy Galore,
Nils Olav,
The Cowsills,
Gil Scott Heron,
Brass Construction,
the Normal,
Throbbing Gristle,
Marvin Gaye,
Johnny Clarke,
Sound Behaviour,
Sister Nancy,
Cecil Taylor,
Aloha Tigers,
Teenage Jesus and the Jerks,
Rufus Thomas,
The Happenings,
Notorious BIG live in Amsterdam,
Marc Almond,
The Last Poets,
Soft Machine,
Sonic Youth,
Wolf Eyes,
New Order,
World's Most,
Flash Fearless,
Brothers Johnson,
The Golliwogs,
Ituana,
The Five Americans,
Alphaville,
Marine Girls,
The Moody Blues,
Terror Squad Feat. Camron,
Flamin' Groovies,
Gang Green, Gang Green, Gang Green, Gang Green.
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.