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 Cuba and from Bologna.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Jakarta 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 synthesizer 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 Thinking Fellers Union Local 282 to the disco 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 The Zeros. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Pylon 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Deadbeat,
Red Lorry Yellow Lorry,
Barbara Tucker,
Ultramagnetic MC's,
Max Romeo,
Gian Franco Pienzio,
Glambeats Corp.,
Harmonia,
The Tremeloes,
Justin Hinds & The Dominoes,
Jeff Lynne,
The Zeros,
Curtis Mayfield,
The Pop Group,
The Motions,
Joensuu 1685,
Groovy Waters,
Sticky Fingaz feat. Raekwon,
The Selecter,
Notorious BIG live in Amsterdam,
Inner City,
Anakelly,
New York Dolls,
Ash Ra Tempel,
Jandek,
Saccharine Trust,
Cal Tjader,
John Holt,
Bush Tetras,
Josef K,
Fad Gadget,
Fifty Foot Hose,
Yellowson,
Cecil Taylor,
Hardrive,
Rod Modell,
Pete Rock & C.L. Smooth,
The Victims,
Crime,
Morten Harket,
Ralphi Rosario,
The Human League,
Newcleus,
Jerry Gold Smith,
Hot Snakes,
JFA,
New Age Steppers,
Ice-T,
Terrestrial Tones,
48th St. Collective,
Section 25,
Brand Nubian,
Andrew Ashong & Theo Parrish,
Roy Ayers Ubiquity,
Freddie Wadling,
The Misunderstood,
the Human League,
John Foxx,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.