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 Tonga and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Mexico City 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 organ sounds with much patience.
I was there when Michael McDonald 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 Ultravox to the rap kids.
I played it at the Roxy.
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 Rufus Thomas. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Girls At Our Best!,
Jeru the Damaja,
Dave Gahan,
The Kinks,
Brass Construction,
Rakim,
Newcleus,
Bizarre Inc.,
Silicon Teens,
PIL,
Amon Düül,
Deutsch Amerikanische Freundschaft,
Todd Rundgren,
A Flock of Seagulls,
Tears for Fears,
The Fortunes,
Franke,
The Martian,
Sad Lovers and Giants,
Liaisons Dangereuses,
Sällskapet,
Idris Muhammad,
Oppenheimer Analysis,
The Evens,
Tropical Tobacco,
Max Romeo,
Jimmy McGriff,
Crispy Ambulance,
DJ Sneak,
Isaac Hayes,
The Electric Prunes,
John Cale,
Sugar Minott,
Animal Collective,
Electric Light Orchestra,
Blancmange,
the Swans,
Funkadelic,
Cal Tjader,
Bob Dylan,
Skaos,
Rowland S Howard / Lydia Lunch,
The Invisible,
Graham Central Station,
Dark Day,
Gabor Szabo,
Mantronix,
The Leaves,
Amon Düül II,
Mary Jane Girls,
The Durutti Column,
The Detroit Cobras,
Spandau Ballet,
Banda Bassotti,
Iggy Pop,
The Offenders,
Aswad,
Rufus Thomas,
Jacob Miller,
Bobby Hutcherson,
Flash Fearless,
Little Man,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.