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 Slovenia and from Accra.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school New York 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 UT to the jazz kids.
I played it at the Spitz.
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 Cabaret Voltaire. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Q and Not U 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
The Index,
Boz Scaggs,
Brick,
The United States of America,
Jeff Mills,
Avey Tare & Kría Brekkan,
Reuben Wilson,
Nation of Ulysses,
Funkadelic,
CMW,
Marshall Jefferson,
Gang of Four,
Joensuu 1685,
Ten City,
Angels of Light & Akron/Family,
Alphaville,
Bobby Womack,
Malaria!,
Yusef Lateef,
Masters at Work,
Banda Bassotti,
Lucky Dragons,
Warren Ellis,
10cc,
The Men They Couldn't Hang,
Dark Day,
The Doors,
Metal Thangz,
the Normal,
Howard Jones,
Eric Copeland,
Fluxion,
Andrew Hill,
Ronnie Foster,
Pulsallama,
The Five Americans,
Delta 5,
Barclay James Harvest,
Subhumans,
Fad Gadget,
Roxy Music,
The Chocolate Watch Band,
The Divine Comedy,
Hot Snakes,
Maleditus Sound,
The Fortunes,
New Order,
Second Layer,
The Barracudas,
Kerri Chandler,
Bang on a Can All-Stars,
Mantronix,
Graham Central Station,
Panda Bear,
X-101,
Sandy B,
Black Sheep,
Moss Icon,
John Holt,
The Royal Family And The Poor,
James Chance & The Contortions,
Zero Boys,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.