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 Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Tehran 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Slave to the jazz 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 Mission of Burma. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Dead C,
Junior Murvin,
X-102,
Max Romeo,
Severed Heads,
Tim Buckley,
Echospace,
Inner City,
Deakin,
Model 500,
The Cure,
Hoover,
Terry Callier,
Infiniti,
Bobby Byrd,
Spandau Ballet,
The Selecter,
Pylon,
the Soft Cell,
Sonic Youth,
Sly & The Family Stone,
Y Pants,
Kool Moe Dee,
Soul Sonic Force,
Aaron Thompson,
Pharoah Sanders,
The Fall,
ABBA,
Wasted Youth,
Nirvana,
The Modern Lovers,
Boz Scaggs,
Davy DMX,
Michelle Simonal,
Marc Almond,
Sun Ra,
New Age Steppers,
Nation of Ulysses,
John Holt,
The Doors,
The Flesh Eaters,
The Doobie Brothers,
Drexciya,
The Shadows of Knight,
The Invisible,
Smog,
Young Marble Giants,
U.S. Maple,
Soulsonic Force,
Banda Bassotti,
Faraquet,
Dawn Penn,
Panda Bear,
The Real Kids,
Aloha Tigers,
Goldenarms,
Skriet,
Kurtis Blow,
the Swans, the Swans, the Swans, the Swans.
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.