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 Guatemala and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1972.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Toronto 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 808 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 Audionom to the crunk kids.
I played it at the Troubador.
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 Eddi Front. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Unwound 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Fugazi,
Suburban Knight,
Drive Like Jehu,
The Barracudas,
Parry Music,
Traffic Nightmare,
Quantec,
Magma,
Joyce Sims,
Royal Trux,
Stetsasonic,
Simply Red,
Moss Icon,
Mary Jane Girls,
The Sound,
Newcleus,
Roy Ayers Ubiquity,
In Retrospect,
John Holt,
a-ha,
Marmalade,
Lightning Bolt,
Motorama,
Rapeman,
Andrew Hill,
Boogie Down Productions,
Kevin Saunderson,
Kango’s Stein Massive,
The Blues Magoos,
The Cramps,
Gang Gang Dance,
The Happenings,
Surgeon,
Ultimate Spinach,
Thinking Fellers Union Local 282,
Arcadia,
Flash Fearless,
Rites of Spring,
Darondo,
Soul II Soul,
The Cure,
Neil Young,
Main Source,
The Martian,
Little Man,
Pussy Galore,
Radio Birdman,
Janne Schatter,
Patti Smith,
Severed Heads,
Isaac Hayes,
Electric Prunes,
One Last Wish,
the Slits,
A Certain Ratio,
Gabor Szabo,
Art Ensemble Of Chicago,
Ultramagnetic MC's,
Section 25,
The Busters,
Mantronix,
June Days,
Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience.
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.