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 Tanzania and from Copenhagen.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Toronto 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 snare 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 kango's stein massive to the jazz kids.
I played it at the Troubador.
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 MC5. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Spoonie Gee 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Bizarre Inc.,
Outsiders,
the Soft Cell,
Lalo Schifrin,
cv313,
Q65,
Mission of Burma,
X-Ray Spex,
Matthew Bourne,
A Certain Ratio,
Country Teasers,
Henry Cow,
Procol Harum,
Matthew Halsall,
Althea and Donna,
Adolescents,
Radiopuhelimet,
Andrew Hill,
LL Cool J,
Maurizio,
Nation of Ulysses,
Rekid,
Minutemen,
The Cramps,
Peter & Gordon,
Wighnomy Brothers & Robag Wruhme,
Nick Fraelich,
Livin' Joy,
DJ Sneak,
The Angels of Light,
Television Personalities,
Stiv Bators,
Mark Hollis,
Bluetip,
Pharaoh Sanders and the Fire Engines,
the Fania All-Stars,
Bootsy Collins,
Cal Tjader,
Kool G Rap & DJ Polo,
Lou Reed,
Desert Stars,
Camouflage,
Tubeway Army,
Sun City Girls,
The Residents,
Barbara Tucker,
Camron Feat. Jay Z And Juelz,
Intrusion,
Toni Rubio,
Art Ensemble Of Chicago,
Sällskapet,
OOIOO,
Howard Jones,
a-ha,
Aaron Thompson,
Sixth Finger,
Spandau Ballet,
June of 44,
Public Image Ltd.,
Cecil Taylor,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.