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 Denmark and from Philadelphia.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 The Fall to the electroclash 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 Rufus Thomas. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Main Source 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
PIL,
Marshall Jefferson,
Massinfluence,
Althea and Donna,
The Gun Club,
The Sonics,
Panda Bear,
The Gap Band,
Schoolly D,
The Standells,
The Five Americans,
Bootsy Collins,
Brand Nubian,
Mission of Burma,
kango's stein massive,
DJ Style,
June Days,
Rowland S Howard / Lydia Lunch,
The Victims,
Echospace,
The Slackers,
The Jesus and Mary Chain,
Jeru the Damaja,
Brass Construction,
Arcadia,
Chris Corsano,
The Techniques,
James White and The Blacks,
Funky Four + One,
Barbara Tucker,
Sandy B,
Johnny Osbourne,
Smog,
The Star Department,
Lakeside,
Rekid,
Crash Course in Science,
Joey Negro,
Oppenheimer Analysis,
Joe Finger,
Lindisfarne,
Anakelly,
Funkadelic,
Gil Scott-Heron & Brian Jackson,
The Mojo Men,
Cluster,
Avey Tare's Slasher Flicks,
Peter Gordon & Love of Life Orchestra,
Kevin Saunderson,
Bootsy's Rubber Band,
The Fall,
Justin Hinds & The Dominoes,
Rufus Thomas,
Todd Terry,
Judy Mowatt,
Barclay James Harvest,
Lou Reed & John Cale,
The Beau Brummels,
Jawbox,
Stiv Bators,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.