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 India and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1975.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Spokane 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 the Sonics to the grunge 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 Isaac Hayes. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Al Stewart,
Jacques Brel,
Junior Murvin,
Bobbi Humphrey,
Joensuu 1685,
Sarah Menescal,
The Fuzztones,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sam Rivers,
Animal Collective,
The Standells,
Bill Wells,
Chrome,
Beasts of Bourbon,
Eyeless In Gaza,
Minny Pops,
Cecil Taylor,
The Five Americans,
Richard Hell and the Voidoids,
Lungfish,
Smog,
The Names,
Vainqueur,
10cc,
Rapeman,
The West Coast Pop Art Experimental Band,
Alphaville,
Flipper,
The Walker Brothers,
Gang Starr,
Rufus Thomas,
Minutemen,
Flash Fearless,
Sexual Harrassment,
Heavy D & The Boyz,
Youth Brigade,
UT,
Skarface,
Suicide,
Soft Cell,
Soft Machine,
Yusef Lateef,
Can,
The Leaves,
Deadbeat,
Oblivians,
The Seeds,
Soul Sonic Force,
Royal Trux,
Jerry's Kids,
Grandmaster Flash,
Cluster,
Quando Quango,
Robert Wyatt,
Bootsy Collins,
Ohio Players,
Wighnomy Brothers & Robag Wruhme,
Panda Bear,
Jacob Miller,
Sällskapet,
Steve Hackett,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.