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 Oman and from Taipei.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 The Star Department to the dance kids.
I played it at the 40 Watt.
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 Jacques Brel. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Cluster 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Men They Couldn't Hang,
Matthew Halsall,
Howard Jones,
Roxette,
La Düsseldorf,
Rufus Thomas,
The Cramps,
Gastr Del Sol,
Minor Threat,
Adolescents,
Hashim,
Oppenheimer Analysis,
Boz Scaggs,
Charles Mingus,
The Flesh Eaters,
Bobby Sherman,
Harmonia,
The Associates,
Minnie Riperton,
Man Parrish,
The Star Department,
Reuben Wilson,
48th St. Collective,
Gian Franco Pienzio,
Technova,
Laurel Aitken,
Peter and Kerry,
Boogie Down Productions,
Dawn Penn,
Livin' Joy,
Masters at Work,
Sun Ra Arkestra,
David Axelrod,
Fluxion,
Beasts of Bourbon,
the Germs,
Ice-T,
Groovy Waters,
Be Bop Deluxe,
The Fuzztones,
The Remains,
June of 44,
Average White Band,
DJ Sneak,
Slick Rick,
Wasted Youth,
Soft Machine,
Flipper,
Al Stewart,
Bobby Byrd,
Gang Green,
cv313,
Lungfish,
Newcleus,
Zero Boys,
Wighnomy Brothers & Robag Wruhme,
Sonny Sharrock,
LL Cool J,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Maleditus Sound,
Camouflage,
Easy Going,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.