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 Lesotho and from Milan.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 Lalo Schifrin 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 Howard Jones. All the underground hits.
All The Evens tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Joe Finger,
Shoche,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
The Men They Couldn't Hang,
The Human League,
Glenn Branca,
Derrick May,
The Index,
David Axelrod,
Excepter,
Essential Logic,
Simply Red,
The American Breed,
Subhumans,
The Raincoats,
The Alarm Clocks,
A Flock of Seagulls,
Joe Smooth,
the Swans,
Mark Hollis,
Wighnomy Brothers & Robag Wruhme,
Oppenheimer Analysis,
Y Pants,
Kool Moe Dee,
Selector Dub Narcotic,
The Sonics,
Erykah Badu,
Gil Scott Heron,
Rahsaan Roland Kirk,
Q65,
8 Eyed Spy,
Eve St. Jones,
Cabaret Voltaire,
Darondo,
Reagan Youth,
F. McDonald,
Dave Gahan,
Can,
Intrusion,
Ajijia Myrayebe,
The Peanut Butter Conspiracy,
Kango’s Stein Massive,
Lyres,
Adolescents,
Bootsy Collins,
Radio Birdman,
Sun Ra,
Japan,
Quantec,
X-101,
Larry & the Blue Notes,
Kerrie Biddell,
Pharoah Sanders,
Röyhkä ja Rättö ja Lehtisalo,
Duran Duran,
Chrome,
Sonic Youth,
Kas Product,
Hardrive,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.