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 Korea North and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Seoul and Beijing.
I'm losing my edge to the art-school Manila 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Marc Romboy vs. Booka Shade to the techno kids.
I played it at the Crocodile.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal rock 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Derrick Morgan,
Danielle Patucci,
Audionom,
Nik Kershaw,
Bill Wells,
Electric Light Orchestra,
Young Marble Giants,
Niagra,
Magazine,
Jerry's Kids,
Rhythm & Sound,
Motorama,
Massinfluence,
Fugazi,
Skaos,
It's A Beautiful Day,
The New Christs,
D'Angelo,
Lonnie Liston Smith,
The Slackers,
Todd Terry,
Junior Murvin,
Oblivians,
Tim Buckley,
Loose Ends,
Minnie Riperton,
Suburban Knight,
Heavy D & The Boyz,
Funkadelic,
Delon & Dalcan,
Fluxion,
The Seeds,
Arab on Radar,
Das Ding,
Fort Wilson Riot,
Toni Rubio,
Roy Ayers,
Scratch Acid,
A Flock of Seagulls,
Jandek,
B.T. Express,
Liliput,
Newcleus,
New Age Steppers,
MDC,
Rhythim Is Rhythim,
Quando Quango,
Quadrant,
Public Image Ltd.,
The Royal Family And The Poor,
Make Up,
Black Flag,
Glambeats Corp.,
Eric Dolphy,
De La Soul & Jungle Brothers,
Ornette Coleman,
Harmonia,
Traffic Nightmare,
Kurtis Blow,
Quantec,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.