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 Korea South and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Taipei.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Yellowson to the dance kids.
I played it at the Astoria.
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 Talk Talk. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Ajijia Myrayebe,
Rakim,
London Community Gospel Choir,
Andrew Ashong & Theo Parrish,
Neu!,
Eli Mardock,
Bronski Beat,
Boogie Down Productions,
Infiniti,
Whodini,
Schoolly D,
David McCallum,
Desert Stars,
Avey Tare & Kría Brekkan,
Donald Byrd,
The Stooges,
Heaven 17,
Man Parrish,
The Modern Lovers,
Sam Rivers,
Black Moon,
Barbara Tucker,
Echo & the Bunnymen,
Gastr Del Sol,
Barclay James Harvest,
Quantec,
Morten Harket,
The Mojo Men,
Don Cherry,
The Litter,
Curtis Mayfield,
Hoover,
Trumans Water,
Tears for Fears,
Fear,
Television,
Sly & The Family Stone,
Pussy Galore,
The American Breed,
Drexciya,
Public Enemy,
D'Angelo,
Scan 7,
Sunsets and Hearts,
Oppenheimer Analysis,
Skarface,
Monks,
Technova,
David Axelrod,
Barrington Levy,
Robert Görl,
Stockholm Monsters,
The Searchers,
Fat Boys,
Sister Nancy,
Jimmy McGriff,
B.T. Express,
Yazoo,
Rod Modell,
Zapp,
Radiopuhelimet,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.