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 Jordan and from Woodstock.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lille and Cairo.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Aural Exciters to the techno kids.
I played it at CBGB's.
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 Martian. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Minnie Riperton 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Faraquet,
The Leaves,
John Holt,
Brand Nubian,
The Happenings,
Symarip,
Minnie Riperton,
Youth Brigade,
Connie Case,
The Black Dice,
The West Coast Pop Art Experimental Band,
Larry & the Blue Notes,
Grandmaster Flash and the Furious Five,
Heavy D & The Boyz,
Fad Gadget,
Mr. Review,
Rosa Yemen,
JFA,
Easy Going,
Quadrant,
Theoretical Girls,
New Age Steppers,
The Invisible,
Gastr Del Sol,
Alton Ellis,
The Alarm Clocks,
Terrestrial Tones,
Girls At Our Best!,
Chris & Cosey,
Bauhaus,
Curtis Mayfield,
Kings Of Tomorrow,
The Buckinghams,
Sunsets and Hearts,
Nick Cave & The Bad Seeds,
Marvin Gaye,
Accadde A,
Godley & Creme,
Donny Hathaway,
Boogie Down Productions,
Skaos,
Funkadelic,
Blake Baxter,
Amazonics,
Dave Gahan,
Bronski Beat,
the Germs,
Delon & Dalcan,
Jeff Mills,
Derrick Morgan,
Beasts of Bourbon,
Cheater Slicks,
Lalo Schifrin,
The Sisters of Mercy,
kango's stein massive,
Roxette,
Nik Kershaw,
Gil Scott-Heron & Brian Jackson,
The Selecter,
Pole,
Albert Ayler,
The Toasters, The Toasters, The Toasters, The Toasters.
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.