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 Czech Republic and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Fort Wilson Riot to the punk 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 Drive Like Jehu. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Bill Wells 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Animal Collective,
Sam Rivers,
Gregory Isaacs,
Ronnie Foster,
Todd Rundgren,
China Crisis,
The Music Machine,
Notorious BIG live in Amsterdam,
The Monks,
Young Marble Giants,
Kool G Rap & DJ Polo,
The Angels of Light,
Can,
The Dirtbombs,
Nils Olav,
Deakin,
The Alarm Clocks,
Minnie Riperton,
Eve St. Jones,
Robert Wyatt,
cv313,
The Shadows of Knight,
Quadrant,
ABBA,
Byron Stingily,
Audionom,
Traffic Nightmare,
Royal Trux,
The Durutti Column,
Nation of Ulysses,
Joensuu 1685,
Jeff Mills,
The Modern Lovers,
Joey Negro,
New Age Steppers,
Pet Shop Boys,
Duran Duran,
Wolf Eyes,
Max Romeo,
T.S.O.L.,
Lebanon Hanover,
Guru Guru,
Electric Light Orchestra,
Joyce Sims,
The Blackbyrds,
Barclay James Harvest,
Sun City Girls,
The Standells,
Slave,
Dorothy Ashby,
Masters at Work,
Wire,
The Litter,
Chrome,
Faraquet,
Gang of Four,
Average White Band,
Chris & Cosey,
Loose Ends,
Dark Day,
The Doobie Brothers,
The Count Five,
DNA, DNA, DNA, DNA.
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.