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 Afghanistan and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Portland and Mexico City.
I'm losing my edge to the art-school Toronto 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 synthesizer 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 Shuggie Otis to the crunk kids.
I played it at Trash.
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 Sonics. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Blake Baxter,
The Pretty Things,
New York Dolls,
The Seeds,
The Mummies,
Anthony Braxton,
Sight & Sound,
John Cale,
Mad Mike,
The Sisters of Mercy,
Brothers Johnson,
Matthew Bourne,
Dennis Brown,
The Golliwogs,
Popol Vuh,
Y Pants,
Lyres,
Bad Manners,
Cameo,
Altered Images,
Ultravox,
Khruangbin,
Negative Approach,
Agitation Free,
Nils Olav,
The Vogues,
Sunsets and Hearts,
La Düsseldorf,
Flipper,
The Index,
The Doobie Brothers,
Minor Threat,
Aural Exciters,
Flash Fearless,
Mo-Dettes,
Grandmaster Flash and the Furious Five,
Juan Atkins,
World's Most,
Sound Behaviour,
Archie Shepp,
It's A Beautiful Day,
the Fania All-Stars,
Ituana,
Bobby Womack,
The Dave Clark Five,
Gil Scott Heron,
Henry Cow,
Marvin Gaye,
Arab on Radar,
Pet Shop Boys,
Harmonia,
Country Joe & The Fish,
Rowland S Howard / Lydia Lunch,
Bang On A Can,
Stereo Dub,
Eurythmics,
Jeru the Damaja,
Pharoah Sanders,
The Mighty Diamonds,
Faust,
Moby Grape,
Black Moon, Black Moon, Black Moon, Black Moon.
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.