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 Spain and from Beijing.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 2001 at the first Tiga practice in a loft in Montreal.
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 Eden Ahbez to the funk kids.
I played it at the Troubador.
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 the Bar-Kays. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every New Order 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Bauhaus,
Captain Beefheart & His Magic Band,
Pierre Henry,
Crash Course in Science,
Stiv Bators,
Radiopuhelimet,
Manfred Mann's Earth Band,
Man Parrish,
Deadbeat,
Pharoah Sanders,
The Moleskins,
Lungfish,
Main Source,
Brothers Johnson,
Make Up,
the Sonics,
Oblivians,
Reagan Youth,
Iggy Pop,
Bizarre Inc.,
Babytalk,
Soft Machine,
Ornette Coleman,
Angry Samoans,
Black Pus,
Graham Central Station,
The Move,
Bluetip,
The Selecter,
Crooked Eye,
The Mighty Diamonds,
Ralphi Rosario,
Funkadelic,
Tres Demented,
Smog,
Terry Callier,
The Seeds,
UT,
Donald Byrd,
Slave,
Tomorrow,
Sällskapet,
The American Breed,
Kerri Chandler,
The Real Kids,
Juan Atkins,
The Count Five,
Fear,
Archie Shepp,
Porter Ricks,
Rakim,
Minny Pops,
Sexual Harrassment,
Quando Quango,
Bobbi Humphrey,
Soul II Soul,
In Retrospect,
Morten Harket,
The Chocolate Watch Band,
Super Lover Cee & Casanova Rud,
Blossom Toes,
Dawn Penn,
The Cramps, The Cramps, The Cramps, The Cramps.
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.