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 Guinea-Bissau and from Mumbai.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Columbus 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Sarah Menescal 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 Black Flag. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every The United States of America 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Crime,
Newcleus,
Charles Mingus,
Alison Limerick,
Gregory Isaacs,
Dead Boys,
Arthur Verocai,
Donny Hathaway,
The Angels of Light,
Icehouse,
Zapp,
Rowland S Howard / Lydia Lunch,
Q and Not U,
Grandmaster Flash and the Furious Five,
Von Mondo,
Roxy Music,
Scratch Acid,
Donald Byrd,
Lafayette Afro Rock Band,
Hardrive,
John Foxx,
Au Pairs,
Aloha Tigers,
Oppenheimer Analysis,
the Slits,
Ornette Coleman,
Michelle Simonal,
Tropical Tobacco,
Make Up,
The Techniques,
Ken Boothe,
48th St. Collective,
Eric Dolphy,
The Names,
The Grass Roots,
Thee Headcoats,
Lizzy Mercier Descloux,
Pantaleimon,
Kango’s Stein Massive,
Sound Behaviour,
Cymande,
Leonard Cohen,
Shoche,
Bronski Beat,
Echo & the Bunnymen,
Grandmaster Flash,
Panda Bear,
Dave Gahan,
Joy Division,
Slave,
Cybotron,
the Germs,
The Zeros,
Simply Red,
Moss Icon,
Depeche Mode,
Drive Like Jehu,
Ponytail,
Parry Music,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.