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 Azerbaijan and from Sao Paulo.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Tokyo and New York.
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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord 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 Robert Görl to the funk kids.
I played it at CBGB's.
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 Roy Ayers Ubiquity. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Excepter 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Swans,
The Real Kids,
James Chance & The Contortions,
Little Man,
Eric B and Rakim,
Notorious Big And Bone Thugs,
Oppenheimer Analysis,
Icehouse,
John Lydon,
The Residents,
Slave,
Urselle,
The Cowsills,
PIL,
Black Bananas,
Depeche Mode,
Charles Mingus,
Scratch Acid,
The Music Machine,
Blake Baxter,
Moby Grape,
Tim Buckley,
Lalann,
Ohio Players,
The Red Krayola,
A Flock of Seagulls,
Newcleus,
Joe Finger,
Eden Ahbez,
Loose Ends,
Cameo,
Stockholm Monsters,
Vladislav Delay,
Barbara Tucker,
Rites of Spring,
Rowland S Howard / Lydia Lunch,
Peter Gordon & Love of Life Orchestra,
Thee Headcoats,
Roxette,
Bluetip,
Drive Like Jehu,
Niagra,
K-Klass,
Althea and Donna,
The Cure,
Hasil Adkins,
Mars,
Robert Wyatt,
Aaron Thompson,
Unrelated Segments,
Jacques Brel,
The Five Americans,
Gabor Szabo,
Main Source,
AZ,
The Angels of Light,
Ronan,
Nation of Ulysses,
Silicon Teens,
The Gap Band,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.