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 Vanuatu and from New York.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Amon Düül to the grunge kids.
I played it at the Roxy.
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 James Chance & The Contortions. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Tim Buckley,
Godley & Creme,
Sixth Finger,
Jacques Brel,
Sly & The Family Stone,
Teenage Jesus and the Jerks,
Gil Scott-Heron & Brian Jackson,
Cal Tjader,
Lebanon Hanover,
Ultra Naté,
Swell Maps,
Ludus,
Josef K,
Sonic Youth,
The Jesus and Mary Chain,
Kevin Saunderson,
Colin Newman,
Saccharine Trust,
World's Most,
48th St. Collective,
Ronnie Foster,
The Selecter,
Magma,
Swans,
Bob Dylan,
Pharaoh Sanders and the Fire Engines,
Chris Corsano,
Ash Ra Tempel,
The Happenings,
Kings Of Tomorrow,
Theoretical Girls,
Richard Hell and the Voidoids,
Stiv Bators,
Can,
Man Parrish,
CMW,
Crispian St. Peters,
James White and The Blacks,
Dark Day,
Kaleidoscope,
Public Enemy,
Ultramagnetic MC's,
Electric Prunes,
Radio Birdman,
Au Pairs,
Barclay James Harvest,
Black Flag,
The Victims,
Bobby Hutcherson,
Wire,
Bootsy's Rubber Band,
The Dirtbombs,
Inner City,
Porter Ricks,
Marine Girls,
Suburban Knight,
Ohio Players,
Charles Mingus,
Fugazi,
Fatback Band,
Lakeside,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.