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 Jamaica and from New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Winnipeg.
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 arpeggiator 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 Royal Trux to the rap 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 Terrestrial Tones. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Jeru the Damaja,
Amazonics,
X-102,
Jeff Lynne,
L. Decosne,
Amon Düül,
Godley & Creme,
Albert Ayler,
The Velvet Underground,
Lower 48,
The Pop Group,
Sixth Finger,
Flash Fearless,
Johnny Clarke,
Curtis Mayfield,
The Walker Brothers,
Lou Christie,
The Last Poets,
Andrew Ashong & Theo Parrish,
Johnny Osbourne,
Art Ensemble Of Chicago,
Ohio Players,
Marmalade,
Henry Cow,
The Vogues,
Röyhkä ja Rättö ja Lehtisalo,
the Bar-Kays,
Clear Light,
Ken Boothe,
John Holt,
Agent Orange,
D'Angelo,
Masters at Work,
Dual Sessions,
Hot Snakes,
The Moleskins,
Smog,
Gary Puckett & The Union Gap,
Big Daddy Kane,
The Dave Clark Five,
The Monks,
Peter and Kerry,
Malaria!,
Dead Boys,
Section 25,
Sex Pistols,
Tommy Roe,
Minutemen,
Junior Murvin,
Connie Case,
Lizzy Mercier Descloux,
The Remains,
T. Rex,
Eyeless In Gaza,
Barbara Tucker,
DJ Sneak,
Nas,
The Neon Judgement,
Colin Newman,
48th St. Collective,
Lyres,
Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family.
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.