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 Nauru and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Alice Coltrane to the electroclash kids.
I played it at the Spitz.
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 Andrew Hill. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Black Flag,
8 Eyed Spy,
Audionom,
David Axelrod,
Jeff Lynne,
The Five Americans,
Banda Bassotti,
Judy Mowatt,
John Holt,
The Mojo Men,
Rakim,
Ossler,
Whodini,
Soft Machine,
Jacques Brel,
Animal Collective,
Scott Walker,
Lou Reed,
Ronan,
Kango’s Stein Massive,
Excepter,
Stockholm Monsters,
Robert Hood,
Tres Demented,
Average White Band,
The Buckinghams,
Flash Fearless,
The Stooges,
The Neon Judgement,
DNA,
John Lydon,
Slave,
Deakin,
Lou Reed & John Cale,
Buzzcocks,
Pierre Henry,
The Last Poets,
Interpol,
CMW,
The Royal Family And The Poor,
Lee Hazlewood,
New Age Steppers,
Joensuu 1685,
Aural Exciters,
The Walker Brothers,
The Cure,
Essential Logic,
Icehouse,
James White and The Blacks,
Youth Brigade,
Patti Smith,
New York Dolls,
Swans,
The Dirtbombs,
Joe Smooth,
the Normal,
Oblivians,
The Gladiators,
Vaughan Mason & Crew,
Amon Düül,
Spandau Ballet,
Lalo Schifrin,
Be Bop Deluxe,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.