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 Afghanistan and from Milan.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Paris and Edmonton.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the oboe 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 Jacob Miller 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 Ice-T. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Tomorrow 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare 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 snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Main Source,
Lou Reed & Metallica,
Mantronix,
Metal Thangz,
Frankie Knuckles,
The Fortunes,
Delta 5,
Babytalk,
Jerry Gold Smith,
Yaz,
Simply Red,
Talk Talk,
One Last Wish,
La Düsseldorf,
Pete Rock & C.L. Smooth,
Mandrill,
Derrick May,
Interpol,
Gichy Dan,
Juan Atkins,
Thompson Twins,
Tubeway Army,
CMW,
Harpers Bizarre,
Urselle,
Sexual Harrassment,
Colin Newman,
James Chance & The Contortions,
Charles Mingus,
Kool Moe Dee,
Arcadia,
MDC,
Black Pus,
Eve St. Jones,
Joe Smooth,
Ronan,
Audionom,
Althea and Donna,
Carl Craig,
Camouflage,
Pantaleimon,
Red Lorry Yellow Lorry,
The Blackbyrds,
The Barracudas,
Brass Construction,
The Smiths,
Tomorrow,
Intrusion,
Big Daddy Kane,
Barclay James Harvest,
Moss Icon,
Section 25,
Hasil Adkins,
Scan 7,
T.S.O.L.,
the Germs,
Slick Rick,
Pharaoh Sanders and the Fire Engines,
Glambeats Corp.,
The West Coast Pop Art Experimental Band,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.