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 Albania and from Sao Paulo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 the Bar-Kays to the jazz 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 The Gun Club. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Funkadelic 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill 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?
Thee Headcoats,
F. McDonald,
Bush Tetras,
The Remains,
Massinfluence,
Lyres,
Nick Cave & The Bad Seeds,
The Count Five,
James Chance & The Contortions,
Soulsonic Force,
Jesper Dahlback,
Warsaw,
Ralphi Rosario,
The Blues Magoos,
The Neon Judgement,
Pharoah Sanders,
Gregory Isaacs,
Eden Ahbez,
Radio Birdman,
Lou Christie,
Angels of Light & Akron/Family,
Major Organ And The Adding Machine,
Franke,
John Foxx,
Mandrill,
Dual Sessions,
Duran Duran,
It's A Beautiful Day,
Blake Baxter,
Stereo Dub,
The Mojo Men,
the Slits,
Notorious Big And Bone Thugs,
Lightning Bolt,
Fort Wilson Riot,
Isaac Hayes,
De La Soul & Jungle Brothers,
Pere Ubu,
Jawbox,
Jimmy McGriff,
Peter Gordon & Love of Life Orchestra,
DeepChord presents Echospace,
David Axelrod,
K-Klass,
Ossler,
Parry Music,
Desert Stars,
Inner City,
Rod Modell,
Jeff Mills,
Kerrie Biddell,
Eric Dolphy,
Al Stewart,
Jacques Brel,
Danielle Patucci,
Hoover,
Metal Thangz,
Bizarre Inc.,
The Music Machine,
The Walker Brothers,
Barry Ungar,
Bang on a Can All-Stars,
Albert Ayler,
The Fortunes,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.