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 Nicaragua and from Johannesburg.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Halifax and Winnipeg.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Notorious Big And Bone Thugs to the grunge 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 Scratch Acid. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Rhythm & Sound,
Essential Logic,
The Black Dice,
Lakeside,
The Tremeloes,
The Cosmic Jokers,
JFA,
Excepter,
Nik Kershaw,
Ultra Naté,
Peter and Kerry,
Arcadia,
Traffic Nightmare,
Sister Nancy,
DNA,
Michelle Simonal,
Joey Negro,
Second Layer,
Pierre Henry,
The Electric Prunes,
Unwound,
Amon Düül II,
Icehouse,
L. Decosne,
Crispian St. Peters,
Prince Buster,
Lou Reed & Metallica,
Absolute Body Control,
Cheater Slicks,
Liliput,
Scan 7,
Bauhaus,
The Real Kids,
Idris Muhammad,
The Count Five,
Big Daddy Kane,
The Smiths,
Barclay James Harvest,
Barrington Levy,
Ronan,
Electric Light Orchestra,
Kango’s Stein Massive,
The Sonics,
Con Funk Shun,
Ponytail,
The Standells,
Iggy Pop,
Hardrive,
Nation of Ulysses,
Pantytec,
K-Klass,
The Mighty Diamonds,
Terror Squad Feat. Camron,
Make Up,
Dr. Dre and Snoop Doggy Dog,
Alison Limerick,
Max Romeo,
Outsiders,
Roxette,
The Evens,
Visionaries,LMNO, T- Love & Iriscience,
Ice-T,
Thompson Twins,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.