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 Gambia and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1978.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar 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 Soft Cell to the rock kids.
I played it at Trash.
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 Chrome. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Mr. Review,
Electric Prunes,
DNA,
Amon Düül,
Suicide,
Sandy B,
Scan 7,
Ultramagnetic MC's,
Fear,
Lonnie Liston Smith,
The Wake,
Morten Harket,
Marcia Griffiths,
Crooked Eye,
Lalann,
Grey Daturas,
Man Parrish,
Pantaleimon,
Radiopuhelimet,
Marc Romboy vs. Booka Shade,
The Happenings,
The Young Rascals,
Roger Hodgson,
Pharoah Sanders,
Deutsch Amerikanische Freundschaft,
Jawbox,
Theoretical Girls,
The Flesh Eaters,
Moebius,
Magma,
Reagan Youth,
Cluster,
Marshall Jefferson,
Country Joe & The Fish,
The Leaves,
Icehouse,
Ralphi Rosario,
Archie Shepp,
Franke,
Hasil Adkins,
Stockholm Monsters,
David McCallum,
Soft Machine,
Jesper Dahlback,
The Durutti Column,
MDC,
a-ha,
Angels of Light & Akron/Family,
Nils Olav,
Louis and Bebe Barron,
Dennis Brown,
The Techniques,
Piero Umiliani,
Thee Headcoats,
Ice-T,
Sällskapet,
Oblivians,
The Cramps,
Depeche Mode,
Masters at Work,
The Chocolate Watch Band,
Larry & the Blue Notes,
Hardrive, Hardrive, Hardrive, Hardrive.
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.