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 India and from Bremen.
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 1965 to 1973.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare 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 The Cramps to the electroclash 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 Dark Day. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Jimmy McGriff,
The Evens,
Tommy Roe,
Sarah Menescal,
The American Breed,
Black Flag,
Black Bananas,
Vaughan Mason & Crew,
Panda Bear,
Lee Hazlewood,
48th St. Collective,
The Vogues,
Bobby Byrd,
Cal Tjader,
The Gap Band,
Massinfluence,
Sixth Finger,
Morten Harket,
Electric Prunes,
Crooked Eye,
Wire,
Mars,
Orchestral Manoeuvres in the Dark,
Minny Pops,
Pulsallama,
Drexciya,
Television Personalities,
Bang on a Can All-Stars,
Masters at Work,
Swans,
Andrew Hill,
Joey Negro,
Eric Dolphy,
The Remains,
Big Daddy Kane,
Can,
John Holt,
Marc Romboy vs. Booka Shade,
Bootsy Collins,
Marshall Jefferson,
Thee Headcoats,
This Heat,
Juan Atkins,
Anakelly,
Cluster,
June Days,
Q65,
Max Romeo,
The Blackbyrds,
Rotary Connection,
Clear Light,
Blake Baxter,
The Cure,
Wighnomy Brothers & Robag Wruhme,
Quando Quango,
Maleditus Sound,
Lucky Dragons,
Qualms,
The Happenings, The Happenings, The Happenings, The Happenings.
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.