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 Venezuela 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 1966 to 1973.
I'm losing my edge.
To all the kids in Calgary and Seoul.
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 chamberlin 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 Gang Starr to the punk kids.
I played it at the 40 Watt.
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 Derrick May. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
The Beau Brummels,
Kool Moe Dee,
The Fortunes,
The Black Dice,
The Moody Blues,
Isaac Hayes,
Justin Hinds & The Dominoes,
Aloha Tigers,
Swell Maps,
Lightning Bolt,
Tears for Fears,
Avey Tare,
Jesper Dahlbäck,
Glenn Branca,
Gil Scott Heron,
Joyce Sims,
Chrome,
The Angels of Light,
Scan 7,
The Gap Band,
Minor Threat,
Erasure,
Pere Ubu,
Josef K,
Scrapy,
Organ,
Ken Boothe,
China Crisis,
The Flesh Eaters,
The Chocolate Watch Band,
Aural Exciters,
Zero Boys,
Black Pus,
Donny Hathaway,
David McCallum,
Inner City,
Kings Of Tomorrow,
Masters at Work,
Faraquet,
Electric Prunes,
Bobby Sherman,
Bizarre Inc.,
Section 25,
Delon & Dalcan,
In Retrospect,
Marine Girls,
Rekid,
Rahsaan Roland Kirk,
Pharaoh Sanders and the Fire Engines,
Joe Smooth,
Roy Ayers Ubiquity,
Oneida,
Gang of Four,
Fluxion,
Unrelated Segments,
Sad Lovers and Giants,
Nirvana,
Deepchord,
Bobby Byrd,
Angels of Light & Akron/Family,
The Toasters,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.