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 Lebanon and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Fuzztones to the grunge kids.
I played it at the 40 Watt.
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 Agent Orange. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
the Association,
Pete Rock & C.L. Smooth,
Susan Cadogan,
Spandau Ballet,
Eyeless In Gaza,
48th St. Collective,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
China Crisis,
Fluxion,
Von Mondo,
A Flock of Seagulls,
Pierre Henry,
Scion,
Intrusion,
H. Thieme,
Godley & Creme,
Scrapy,
Moby Grape,
Ken Boothe,
Andrew Hill,
Minutemen,
Visage,
Barbara Tucker,
These Immortal Souls,
Bang On A Can,
Tropical Tobacco,
Aloha Tigers,
Toni Rubio,
Boz Scaggs,
Notorious Big And Bone Thugs,
Sound Behaviour,
Pet Shop Boys,
Bobby Womack,
Rosa Yemen,
Crash Course in Science,
Technova,
The Techniques,
Minor Threat,
Ponytail,
Roy Ayers Ubiquity,
The Count Five,
DeepChord presents Echospace,
Isaac Hayes,
Kool Moe Dee,
Cluster,
Selector Dub Narcotic,
Minny Pops,
Bauhaus,
Dennis Brown,
The Golliwogs,
Faraquet,
Babytalk,
Jacob Miller,
It's A Beautiful Day,
Theoretical Girls,
Los Fastidios,
Newcleus,
Lou Reed,
Harpers Bizarre,
The Red Krayola,
The Slits,
Suburban Knight,
OOIOO,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.