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 Toronto.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Bobby Sherman 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 Sarah Menescal. All the underground hits.
All UT tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal grime 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Doors,
Lou Reed & John Cale,
Bobby Sherman,
Pere Ubu,
Lalo Schifrin,
Danielle Patucci,
Guru Guru,
Maurizio,
Lungfish,
Alphaville,
The Raincoats,
Sam Rivers,
Brothers Johnson,
Lindisfarne,
Cymande,
Supertramp,
Nick Cave & The Bad Seeds,
The Move,
Dawn Penn,
James White and The Blacks,
The Wake,
Television Personalities,
Cabaret Voltaire,
Ultimate Spinach,
Bush Tetras,
Soul II Soul,
Faust,
Faraquet,
New York Dolls,
It's A Beautiful Day,
Richard Hell and the Voidoids,
Barry Ungar,
Justin Hinds & The Dominoes,
Shoche,
Gian Franco Pienzio,
Mad Mike,
Amon Düül,
Public Image Ltd.,
The Angels of Light,
Josef K,
Jesper Dahlbäck,
the Fania All-Stars,
Sticky Fingaz feat. Raekwon,
The West Coast Pop Art Experimental Band,
Chris & Cosey,
Brand Nubian,
Marine Girls,
Jawbox,
The Royal Family And The Poor,
The Electric Prunes,
Soulsonic Force,
Bobby Hutcherson,
The Offenders,
Deadbeat,
D'Angelo,
Tim Buckley,
Cameo,
Ituana,
Gang Green,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.