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 Philippines and from Shanghai.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Cairo and Beijing.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 rock kids.
I played it at the Spitz.
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 Marc Almond. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Mark Hollis 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Red Lorry Yellow Lorry,
Ituana,
Neu!,
Black Flag,
Beasts of Bourbon,
The Zeros,
Gregory Isaacs,
The Selecter,
Con Funk Shun,
The Offenders,
The Saints,
Kevin Saunderson,
Rapeman,
Alison Limerick,
Strawberry Alarm Clock,
Flamin' Groovies,
AZ,
John Holt,
Young Marble Giants,
Ohio Players,
Robert Görl,
Mantronix,
Talk Talk,
The Trojans,
Kings Of Tomorrow,
Michelle Simonal,
EPMD,
LL Cool J,
Joyce Sims,
Bobby Sherman,
The Motions,
Scott Walker,
a-ha,
Agitation Free,
Stetsasonic,
Q65,
Susan Cadogan,
The Standells,
Marc Almond,
The Slits,
Thinking Fellers Union Local 282,
Country Joe & The Fish,
Larry & the Blue Notes,
Deutsch Amerikanische Freundschaft,
Pantytec,
Brick,
Frankie Knuckles,
The Red Krayola,
Todd Rundgren,
Ultimate Spinach,
Little Man,
Tomorrow,
Arcadia,
Rhythm & Sound,
Sonic Youth,
The Raincoats,
Archie Shepp,
Bill Wells,
Curtis Mayfield,
Scientists,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.