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 East Timor and from Hong Kong.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 808 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 Leonard Cohen to the dance 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 Essential Logic. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal disco 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Public Image Ltd.,
The Doobie Brothers,
Joy Division,
Ronnie Foster,
Barclay James Harvest,
The Smoke,
Gastr Del Sol,
Godley & Creme,
Excepter,
Tim Buckley,
Mary Jane Girls,
Wasted Youth,
Reuben Wilson,
Neil Young & Crazy Horse,
The Human League,
The Residents,
The Pop Group,
Eve St. Jones,
Charles Mingus,
Donny Hathaway,
Mo-Dettes,
Albert Ayler,
Kerri Chandler,
The United States of America,
Anthony Braxton,
The Peanut Butter Conspiracy,
The Leaves,
cv313,
Soulsonic Force,
Liaisons Dangereuses,
Boredoms,
Groovy Waters,
Alton Ellis,
Lalann,
Make Up,
Fear,
The Five Americans,
Bobby Womack,
Half Japanese,
Smog,
Funky Four + One,
The Birthday Party,
Manfred Mann's Earth Band,
The Alarm Clocks,
Johnny Clarke,
Angels of Light & Akron/Family,
Infiniti,
Kauko Röyhkä ja Narttu,
Archie Shepp,
Masters at Work,
Fugazi,
Delon & Dalcan,
The Golliwogs,
Zero Boys,
The Offenders,
Cybotron,
Robert Hood,
Duran Duran,
Roger Hodgson,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.