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 El Salvador and from Portland.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Electric Light Orchestra to the disco kids.
I played it at the Astoria.
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 Grauzone. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Red Lorry Yellow Lorry,
Idris Muhammad,
Steve Hackett,
Wolf Eyes,
Rapeman,
the Swans,
The Remains,
Drexciya,
Althea and Donna,
Siglo XX,
Cheater Slicks,
PIL,
Todd Terry,
Manfred Mann's Earth Band,
Crispian St. Peters,
Model 500,
Magma,
Wire,
Alton Ellis,
John Coltrane,
Chrome,
Scrapy,
Notorious Big And Bone Thugs,
The Fire Engines,
Kerri Chandler,
The Mummies,
Moby Grape,
Bobbi Humphrey,
Rakim,
Ronnie Foster,
Louis and Bebe Barron,
EPMD,
Ajijia Myrayebe,
Altered Images,
Bang on a Can All-Stars,
Swell Maps,
Skaos,
Au Pairs,
Jerry's Kids,
KRS-One,
Ken Boothe,
Albert Ayler,
Nick Fraelich,
Freddie Wadling,
Half Japanese,
Jesper Dahlbäck,
The J.B.'s,
Trumans Water,
UT,
Frankie Knuckles,
Motorama,
The Standells,
Mission of Burma,
Mantronix,
The Searchers,
Japan,
Procol Harum,
Mad Mike,
Pussy Galore,
Sixth Finger,
Masters at Work,
Fifty Foot Hose,
The West Coast Pop Art Experimental Band,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.