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 Djibouti and from Stockholm.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Paris 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 marimba 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 Lafayette Afro Rock Band to the jazz kids.
I played it at Cafe Wha.
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 Dirtbombs. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Circle Jerks record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Heavy D & The Boyz,
Sun Ra Arkestra,
Thompson Twins,
The Knickerbockers,
Larry & the Blue Notes,
Cal Tjader,
Grandmaster Flash and the Furious Five,
Electric Prunes,
Sonic Youth,
Gang Green,
Can,
Selector Dub Narcotic,
Von Mondo,
Reagan Youth,
David Axelrod,
Deepchord,
Malaria!,
Andrew Hill,
Pete Rock & C.L. Smooth,
Minnie Riperton,
Motorama,
The Names,
F. McDonald,
Audionom,
Minutemen,
Lou Reed & Metallica,
Max Romeo,
Aaron Thompson,
OOIOO,
Darondo,
Mars,
Nick Cave & The Bad Seeds,
Marine Girls,
The Star Department,
Sällskapet,
Suburban Knight,
Bush Tetras,
Siouxsie and the Banshees,
Janne Schatter,
Rapeman,
Wighnomy Brothers & Robag Wruhme,
Jeru the Damaja,
Grey Daturas,
Supertramp,
The Jesus and Mary Chain,
Fugazi,
Rakim,
Quadrant,
The West Coast Pop Art Experimental Band,
Basic Channel,
The Zeros,
Icehouse,
Fear,
The Cowsills,
Anthony Braxton,
Young Marble Giants,
The Modern Lovers,
John Holt, John Holt, John Holt, John Holt.
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.