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 Israel and from New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Mexico City and New York.
I'm losing my edge to the art-school New York 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 808 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 Rosa Yemen to the rap 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 the Germs. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Gregory Isaacs 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
The Invisible,
Lebanon Hanover,
Notorious Big And Bone Thugs,
The Fire Engines,
Gang Green,
Monolake,
Second Layer,
Josef K,
The Monks,
Zero Boys,
Amazonics,
Pet Shop Boys,
Magazine,
Bootsy Collins,
Byron Stingily,
The Neon Judgement,
Heavy D & The Boyz,
Barclay James Harvest,
Gang Gang Dance,
Joe Smooth,
Girls At Our Best!,
Index,
Jacob Miller,
Youth Brigade,
Crime,
The Tremeloes,
Johnny Clarke,
The Gap Band,
Soft Machine,
New Order,
David Axelrod,
Ludus,
The Blackbyrds,
Mandrill,
Dawn Penn,
The Sonics,
Hardrive,
Scratch Acid,
Neil Young & Crazy Horse,
The Young Rascals,
Todd Rundgren,
Monks,
The Men They Couldn't Hang,
Accadde A,
Reagan Youth,
The Golliwogs,
L. Decosne,
The Last Poets,
Desert Stars,
Urselle,
Gian Franco Pienzio,
Prince Buster,
Kerrie Biddell,
Scan 7,
Fat Boys,
Clear Light,
Deakin,
Todd Terry,
Au Pairs,
Sam Rivers,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.