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 Mongolia and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Halifax 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 John Coltrane to the electroclash kids.
I played it at the Astoria.
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 The Alarm Clocks. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Big Daddy Kane,
Kayak,
Flamin' Groovies,
The Dead C,
Major Organ And The Adding Machine,
Marvin Gaye,
The Slits,
The Pop Group,
Amon Düül,
Moebius,
Boredoms,
The Last Poets,
Idris Muhammad,
Siglo XX,
David Axelrod,
Curtis Mayfield,
The Divine Comedy,
the Swans,
The Monochrome Set,
Vladislav Delay,
Dark Day,
Swell Maps,
Skarface,
Popol Vuh,
Harmonia,
The Cure,
Jerry Gold Smith,
The Cosmic Jokers,
The Detroit Cobras,
Brothers Johnson,
Shuggie Otis,
Public Image Ltd.,
The Mighty Diamonds,
Red Lorry Yellow Lorry,
Junior Murvin,
Colin Newman,
Zapp,
Icehouse,
June Days,
Anthony Braxton,
Rakim,
Avey Tare's Slasher Flicks,
Q and Not U,
Bad Manners,
Notorious BIG live in Amsterdam,
Parry Music,
Lee Hazlewood,
The Monks,
Lungfish,
Newcleus,
Cluster,
Buzzcocks,
Jesper Dahlbäck,
Nils Olav,
Pharaoh Sanders and the Fire Engines,
The Gories,
Monks,
Bobby Byrd,
The Barracudas,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.