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 Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
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 spring reverb 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 Moss Icon to the dance 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 Smog. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Grey Daturas,
Sonny Sharrock,
Joe Finger,
Barclay James Harvest,
The Selecter,
Scan 7,
Liaisons Dangereuses,
Robert Wyatt,
Mars,
The Tremeloes,
Echospace,
Albert Ayler,
The Mighty Diamonds,
The Gladiators,
Trumans Water,
Larry & the Blue Notes,
Vladislav Delay,
Blossom Toes,
Scott Walker,
Rakim,
The Last Poets,
Circle Jerks,
Fifty Foot Hose,
The Birthday Party,
Drive Like Jehu,
Fugazi,
the Fania All-Stars,
Janne Schatter,
Funkadelic,
Nick Fraelich,
Sexual Harrassment,
The Pretty Things,
cv313,
Niagra,
Pere Ubu,
Rowland S Howard / Lydia Lunch,
Black Moon,
Minor Threat,
The Gories,
Scratch Acid,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tomorrow,
Ralphi Rosario,
Underground Resistance,
Clear Light,
Heavy D & The Boyz,
Sly & The Family Stone,
Wasted Youth,
the Slits,
Thee Headcoats,
A Flock of Seagulls,
Desert Stars,
Boz Scaggs,
The Index,
Archie Shepp,
The Slackers,
Suicide,
Panda Bear,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.