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 Rwanda and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Piero Umiliani to the crunk 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 Count Five. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Public Enemy 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Magazine,
Traffic Nightmare,
DJ Style,
Aaron Thompson,
Terror Squad Feat. Camron,
Red Lorry Yellow Lorry,
T.S.O.L.,
Marvin Gaye,
Bizarre Inc.,
Jacob Miller,
Rapeman,
Iggy Pop,
Shoche,
Yaz,
Cymande,
Jimmy McGriff,
Swans,
Peter and Kerry,
The Slackers,
Thee Headcoats,
Easy Going,
Fort Wilson Riot,
Notorious BIG live in Amsterdam,
June of 44,
The Five Americans,
Bauhaus,
AZ,
Main Source,
The Slits,
Scratch Acid,
Röyhkä ja Rättö ja Lehtisalo,
Junior Murvin,
Ultravox,
Matthew Bourne,
OOIOO,
Heaven 17,
Skarface,
The Gladiators,
Guru Guru,
Supertramp,
Wings,
Adolescents,
Nils Olav,
Rhythim Is Rhythim,
Neil Young & Crazy Horse,
Radiohead,
Donny Hathaway,
Massinfluence,
Bang on a Can All-Stars,
Jeff Mills,
Skriet,
cv313,
Darondo,
Gerry Rafferty,
Sonny Sharrock,
Ash Ra Tempel,
Letta Mbulu,
Neil Young,
The Litter,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.