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 Bolivia and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Edmonton 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 Michael McDonald 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 Stiv Bators to the dance kids.
I played it at the Roxy.
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 Gories. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
The West Coast Pop Art Experimental Band,
Ajijia Myrayebe,
Man Parrish,
Liliput,
Shuggie Otis,
Fugazi,
KRS-One,
Visionaries,LMNO, T- Love & Iriscience,
Bill Wells,
Charles Mingus,
Delon & Dalcan,
The Zeros,
The Alarm Clocks,
Harmonia,
Pussy Galore,
Roy Ayers Ubiquity,
Brass Construction,
Ronan,
New Order,
Soulsonic Force,
Wighnomy Brothers & Robag Wruhme,
Al Stewart,
Dual Sessions,
Fad Gadget,
Crispian St. Peters,
The Move,
Crash Course in Science,
The Walker Brothers,
Strawberry Alarm Clock,
Ultravox,
Be Bop Deluxe,
Rakim,
Amon Düül,
The Offenders,
Art Ensemble Of Chicago,
Negative Approach,
UT,
John Coltrane,
Barry Ungar,
Can,
The Fortunes,
Lyres,
Absolute Body Control,
Stetsasonic,
Faust,
Anthony Braxton,
Stiv Bators,
Theoretical Girls,
Adolescents,
The Techniques,
This Heat,
Visage,
Heavy D & The Boyz,
Colin Newman,
The Vogues,
Bluetip,
Stockholm Monsters,
Jeff Lynne,
U.S. Maple,
Cameo,
The Invisible,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.