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 Angola and from Seoul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Organ to the dance 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 Barclay James Harvest. All the underground hits.
All Wire tracks. I heard you have a vinyl of every The J.B.'s 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 '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Oppenheimer Analysis,
Joey Negro,
The Buckinghams,
Electric Light Orchestra,
Lightning Bolt,
Patti Smith,
Metal Thangz,
Robert Wyatt,
The Dead C,
Carl Craig,
Sight & Sound,
Shuggie Otis,
DeepChord presents Echospace,
Sex Pistols,
AZ,
Procol Harum,
Aaron Thompson,
LL Cool J,
Adolescents,
Arab on Radar,
Albert Ayler,
The Fortunes,
The Wake,
Bobby Womack,
The Gap Band,
John Coltrane,
The Blackbyrds,
Flash Fearless,
Anakelly,
The Residents,
Ohio Players,
The Misunderstood,
The Moody Blues,
Kenny Larkin,
Thinking Fellers Union Local 282,
The Peanut Butter Conspiracy,
Jimmy McGriff,
Andrew Hill,
Ken Boothe,
Fifty Foot Hose,
Siglo XX,
Nils Olav,
Michelle Simonal,
The Slits,
The Modern Lovers,
Tom Boy,
Eddi Front,
Fugazi,
Half Japanese,
Essential Logic,
The Red Krayola,
Interpol,
Sonny Sharrock,
Barbara Tucker,
John Cale,
Stockholm Monsters,
Mr. Review,
Nation of Ulysses,
Circle Jerks,
Eric Dolphy,
Deutsch Amerikanische Freundschaft,
Jeff Mills,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.