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 Taiwan 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 1963 to 1973.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Quadrant to the grime 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 The Tremeloes. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your organ and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Matthew Bourne,
Newcleus,
Max Romeo,
Bob Dylan,
Gil Scott-Heron & Brian Jackson,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Warsaw,
Notorious Big And Bone Thugs,
Captain Beefheart & His Magic Band,
Qualms,
Lower 48,
Marc Almond,
Jacob Miller,
Ultra Naté,
The West Coast Pop Art Experimental Band,
Ossler,
Gastr Del Sol,
Lungfish,
DJ Style,
Drexciya,
The Sonics,
Slave,
New Order,
Average White Band,
Neu!,
L. Decosne,
X-102,
Roy Ayers Ubiquity,
Black Moon,
Be Bop Deluxe,
The Gun Club,
Boogie Down Productions,
Ronan,
Model 500,
T. Rex,
Siouxsie and the Banshees,
June Days,
Sunsets and Hearts,
Altered Images,
Ultravox,
The Move,
Q65,
Urselle,
Henry Cow,
The Happenings,
Marmalade,
Pet Shop Boys,
Robert Hood,
Justin Hinds & The Dominoes,
Visage,
Beasts of Bourbon,
Talk Talk,
Hashim,
Scan 7,
The Modern Lovers,
The Slackers,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.