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 Estonia and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Stockholm 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 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 It's A Beautiful Day to the disco 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 Swans. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Wally Richardson,
Slave,
Orchestral Manoeuvres in the Dark,
Siouxsie and the Banshees,
Basic Channel,
The Moleskins,
Major Organ And The Adding Machine,
The Dirtbombs,
Ossler,
Lindisfarne,
Aural Exciters,
Fatback Band,
Moby Grape,
The Shadows of Knight,
Alice Coltrane,
Ten City,
Crispian St. Peters,
Lee Hazlewood,
The J.B.'s,
Cal Tjader,
Bronski Beat,
Big Daddy Kane,
Gang Starr,
Essential Logic,
Drexciya,
Urselle,
Lalo Schifrin,
Faraquet,
Avey Tare's Slasher Flicks,
R.M.O.,
The Monochrome Set,
Unwound,
Thinking Fellers Union Local 282,
Graham Central Station,
Jimmy McGriff,
The Techniques,
Sun Ra Arkestra,
Gil Scott-Heron and Jamie xx,
Black Bananas,
Wire,
Au Pairs,
Qualms,
The Gories,
Robert Görl,
Brothers Johnson,
Moss Icon,
The Music Machine,
Sixth Finger,
Fluxion,
Carl Craig,
T.S.O.L.,
Mars,
The Pretty Things,
Morten Harket,
Jawbox,
Theoretical Girls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers Ubiquity,
Gastr Del Sol,
Liliput,
Sam Rivers,
Camouflage,
Eyeless In Gaza,
a-ha, a-ha, a-ha, a-ha.
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.