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 Mongolia and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Portland 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Robert Wyatt to the disco 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 Black Sheep. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Joe Finger,
Eric Dolphy,
Anthony Braxton,
Infiniti,
Delon & Dalcan,
Guru Guru,
Lonnie Liston Smith,
CMW,
Agitation Free,
Amazonics,
H. Thieme,
Sound Behaviour,
Kaleidoscope,
Eurythmics,
Charles Mingus,
The Peanut Butter Conspiracy,
A Certain Ratio,
Altered Images,
the Human League,
Drive Like Jehu,
the Soft Cell,
June Days,
Procol Harum,
Ultra Naté,
Kango’s Stein Massive,
Subhumans,
The Cure,
Flipper,
Nik Kershaw,
Public Enemy,
Vladislav Delay,
Smog,
Al Stewart,
the Swans,
Boogie Down Productions,
the Germs,
Schoolly D,
FM Einheit,
Orchestral Manoeuvres in the Dark,
The Kinks,
Sly & The Family Stone,
Roxy Music,
EPMD,
Nils Olav,
The Grass Roots,
Franke,
Slave,
the Fania All-Stars,
Icehouse,
The Dave Clark Five,
Liaisons Dangereuses,
Easy Going,
Soft Machine,
The Birthday Party,
Mad Mike,
Pharaoh Sanders and the Fire Engines,
Sad Lovers and Giants,
Bluetip,
Fat Boys,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.