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 Cuba and from Bologna.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and London.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Charles Mingus to the techno 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 Outsiders. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
The Angels of Light,
H. Thieme,
cv313,
Major Organ And The Adding Machine,
48th St. Collective,
The Cosmic Jokers,
Byron Stingily,
Sun Ra,
Erasure,
Donny Hathaway,
UT,
Skarface,
Curtis Mayfield,
Motorama,
Oppenheimer Analysis,
Minny Pops,
Suburban Knight,
Notorious Big And Bone Thugs,
Stereo Dub,
Marc Romboy vs. Booka Shade,
Arcadia,
Lower 48,
John Holt,
New Order,
Hasil Adkins,
Aural Exciters,
Pussy Galore,
Henry Cow,
Severed Heads,
Lebanon Hanover,
Gary Puckett & The Union Gap,
Eli Mardock,
The Buckinghams,
Theoretical Girls,
B.T. Express,
Trumans Water,
Bang On A Can,
Quadrant,
Shoche,
The Searchers,
Mandrill,
Bill Near,
Ornette Coleman,
Zapp,
The Barracudas,
Kerri Chandler,
Glambeats Corp.,
Steve Hackett,
Camron Feat. Jay Z And Juelz,
The Electric Prunes,
The Kinks,
Clear Light,
Strawberry Alarm Clock,
Country Joe & The Fish,
Louis and Bebe Barron,
Royal Trux,
The Jesus and Mary Chain,
Justin Hinds & The Dominoes,
Suicide,
Ituana,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.