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 Liechtenstein and from Toronto.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Roger Hodgson to the disco kids.
I played it at the Hacienda.
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 Negative Approach. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Traffic Nightmare,
The Mummies,
Icehouse,
Mandrill,
Joe Smooth,
The Young Rascals,
E-Dancer,
Rakim,
Arcadia,
Nik Kershaw,
Robert Wyatt,
Echospace,
Duran Duran,
Eric Copeland,
Charles Mingus,
Jeru the Damaja,
Angry Samoans,
Slave,
John Cale,
Animal Collective,
Smog,
MDC,
Nick Fraelich,
Pierre Henry,
Young Marble Giants,
Selector Dub Narcotic,
Marine Girls,
It's A Beautiful Day,
Bizarre Inc.,
Bang On A Can,
Terror Squad Feat. Camron,
Oneida,
Unwound,
Tres Demented,
These Immortal Souls,
Steve Hackett,
Heavy D & The Boyz,
The Flesh Eaters,
Loose Ends,
Cal Tjader,
World's Most,
Gary Puckett & The Union Gap,
Lebanon Hanover,
Bluetip,
Public Image Ltd.,
Kool G Rap & DJ Polo,
Organ,
Patti Smith,
DJ Sneak,
Flamin' Groovies,
Soul Sonic Force,
The Selecter,
Pete Rock & C.L. Smooth,
FM Einheit,
Faraquet,
Supertramp,
Letta Mbulu,
The Fall,
The American Breed,
The Seeds,
cv313,
Gil Scott-Heron and Jamie xx,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.