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 Portugal and from Bologna.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Salvador 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Electric Prunes to the funk kids.
I played it at the Roxy.
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 Heavy D & The Boyz. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
The Last Poets,
Au Pairs,
Dawn Penn,
A Flock of Seagulls,
Kool G Rap & DJ Polo,
Eric Copeland,
Sugar Minott,
Skriet,
Spoonie Gee,
Mr. Review,
The Fire Engines,
David McCallum,
Byron Stingily,
The Names,
The Birthday Party,
Ice-T,
Darondo,
Rotary Connection,
The Peanut Butter Conspiracy,
Throbbing Gristle,
Minor Threat,
The Seeds,
Gabor Szabo,
Maurizio,
Pierre Henry,
The Doobie Brothers,
James White and The Blacks,
Slick Rick,
The Invisible,
Index,
Tears for Fears,
Kings Of Tomorrow,
Ultramagnetic MC's,
The Associates,
Underground Resistance,
Monolake,
Davy DMX,
Liaisons Dangereuses,
Robert Hood,
Massinfluence,
Nation of Ulysses,
The Modern Lovers,
Max Romeo,
KRS-One,
The Smoke,
The Gories,
The Wake,
Scan 7,
Subhumans,
MDC,
Pantytec,
Prince Buster,
Funky Four + One,
It's A Beautiful Day,
Henry Cow,
Sixth Finger,
Jandek,
The Monochrome Set,
Lower 48,
H. Thieme,
Suicide,
The Fortunes,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.