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 Switzerland and from Mexico City.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Manchester 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Soul II Soul to the disco 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 Charles Mingus. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Ultravox,
Dark Day,
Nils Olav,
Unwound,
The American Breed,
Donald Byrd,
Swans,
Nirvana,
Icehouse,
The Litter,
Au Pairs,
Lafayette Afro Rock Band,
Lee Hazlewood,
The Mojo Men,
The Standells,
Avey Tare & Kría Brekkan,
Mary Jane Girls,
The Evens,
The Gories,
Grandmaster Flash and the Furious Five,
Warsaw,
Index,
Audionom,
Kerrie Biddell,
Deutsch Amerikanische Freundschaft,
Oneida,
Sun Ra,
The Index,
Judy Mowatt,
Janne Schatter,
Qualms,
Ultra Naté,
Pussy Galore,
The Blues Magoos,
Half Japanese,
Donny Hathaway,
Electric Prunes,
Lalo Schifrin,
Sly & The Family Stone,
Arthur Verocai,
Toni Rubio,
The Techniques,
Magazine,
The Pop Group,
Ronnie Foster,
Tears for Fears,
Technova,
the Sonics,
Oppenheimer Analysis,
Royal Trux,
The Associates,
Kings Of Tomorrow,
Eric Dolphy,
The Doobie Brothers,
Siglo XX,
The Golliwogs,
Skarface,
The Birthday Party,
The Stooges,
A Flock of Seagulls,
The Last Poets,
Suicide,
Alison Limerick,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.