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 Chad and from Columbus.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Woodstock 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 oboe 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 Terror Squad Feat. Camron to the rap kids.
I played it at the Crocodile.
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 Selector Dub Narcotic. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Tommy Roe,
Crispy Ambulance,
China Crisis,
Godley & Creme,
Siouxsie and the Banshees,
Sandy B,
Lucky Dragons,
The New Christs,
Young Marble Giants,
Black Sheep,
Swell Maps,
Swans,
Stockholm Monsters,
Ronnie Foster,
Alton Ellis,
Glambeats Corp.,
Patti Smith,
Oppenheimer Analysis,
David McCallum,
Heaven 17,
Connie Case,
The Invisible,
Brick,
Red Lorry Yellow Lorry,
the Germs,
Nation of Ulysses,
Röyhkä ja Rättö ja Lehtisalo,
The Monochrome Set,
Moss Icon,
The Move,
New Age Steppers,
Icehouse,
Jacques Brel,
It's A Beautiful Day,
Drive Like Jehu,
Magazine,
The Pop Group,
Ash Ra Tempel,
Soft Machine,
Spandau Ballet,
Anthony Braxton,
ABC,
Kerri Chandler,
Ponytail,
Super Lover Cee & Casanova Rud,
Lungfish,
Man Parrish,
Cymande,
Bush Tetras,
Public Image Ltd.,
Japan,
Country Joe & The Fish,
Dual Sessions,
Pierre Henry,
Pantytec,
Parry Music,
Adolescents,
Arcadia,
The Pretty Things,
Boz Scaggs,
The Moleskins,
ABBA,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.