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 Lebanon and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school London 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 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 Eyeless In Gaza to the disco kids.
I played it at the Hacienda.
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 Au Pairs. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Anakelly,
Porter Ricks,
The Fall,
Scientists,
Television,
ABC,
Notorious Big And Bone Thugs,
Pantaleimon,
Isaac Hayes,
Soft Machine,
World's Most,
Girls At Our Best!,
the Soft Cell,
Nation of Ulysses,
Gang Gang Dance,
The Kinks,
Hoover,
Tom Boy,
Metal Thangz,
The Star Department,
Urselle,
Livin' Joy,
Fluxion,
X-102,
Inner City,
Eddi Front,
Ajijia Myrayebe,
Sight & Sound,
Cluster,
Quando Quango,
Icehouse,
Supertramp,
The Cosmic Jokers,
The Mummies,
Jimmy McGriff,
The Happenings,
Nick Fraelich,
Intrusion,
Talk Talk,
The Beau Brummels,
Bizarre Inc.,
Half Japanese,
The Saints,
Rahsaan Roland Kirk,
Nik Kershaw,
Wasted Youth,
Jeru the Damaja,
Peter and Kerry,
Joe Finger,
Gil Scott-Heron and Jamie xx,
Boogie Down Productions,
Kool G Rap & DJ Polo,
Althea and Donna,
Bauhaus,
Animal Collective,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.