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 Honduras and from Toronto.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 Selda practice in a loft in Istanbul.
I was working on the linndrum 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 Andrew Hill to the jazz 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 Morten Harket. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Slits,
The Detroit Cobras,
Wally Richardson,
Roy Ayers,
Television,
The Wake,
X-Ray Spex,
U.S. Maple,
Quantec,
The Young Rascals,
Slave,
John Holt,
Bobbi Humphrey,
The Electric Prunes,
Sugar Minott,
Cal Tjader,
The Mummies,
Ultramagnetic MC's,
Ponytail,
Deakin,
Flipper,
Throbbing Gristle,
Arcadia,
The Divine Comedy,
Sällskapet,
Ash Ra Tempel,
Grandmaster Flash and the Furious Five,
Black Moon,
Masters at Work,
In Retrospect,
Fifty Foot Hose,
Sexual Harrassment,
Index,
Livin' Joy,
Barbara Tucker,
Kauko Röyhkä ja Narttu,
Scan 7,
Joey Negro,
Joe Smooth,
The Evens,
Animal Collective,
Parry Music,
Tom Boy,
Neil Young & Crazy Horse,
Angels of Light & Akron/Family,
Larry & the Blue Notes,
Pantaleimon,
Lucky Dragons,
Oblivians,
Thompson Twins,
Janne Schatter,
Alton Ellis,
Piero Umiliani,
Bootsy's Rubber Band,
Lou Reed & John Cale,
Minnie Riperton,
Jerry's Kids,
F. McDonald,
Das Ding,
Rites of Spring,
Bizarre Inc.,
Hoover, Hoover, Hoover, Hoover.
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.