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 Mongolia and from Delhi.
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 1962 to 1978.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 American Breed 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 Soul Sonic Force. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal electroclash 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 a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Nik Kershaw,
Theoretical Girls,
Soft Machine,
Swans,
Main Source,
Carl Craig,
Nico,
The Kinks,
Prince Buster,
DeepChord presents Echospace,
ABBA,
La Düsseldorf,
June Days,
Wally Richardson,
The Toasters,
Echo & the Bunnymen,
The Count Five,
The Trojans,
The Walker Brothers,
Johnny Osbourne,
Excepter,
Todd Rundgren,
Grandmaster Flash and the Furious Five,
Kenny Larkin,
Bang On A Can,
Roxette,
Ituana,
Glambeats Corp.,
Quando Quango,
Section 25,
The Monks,
Althea and Donna,
Nas,
Pet Shop Boys,
Sun Ra Arkestra,
The Fire Engines,
Richard Hell and the Voidoids,
Easy Going,
Stereo Dub,
The Five Americans,
Fela Kuti,
Ronnie Foster,
Lou Christie,
Zapp,
Andrew Hill,
Skriet,
Slave,
LL Cool J,
T. Rex,
Pierre Henry,
Rod Modell,
Pharoah Sanders,
James White and The Blacks,
Archie Shepp,
Louis and Bebe Barron,
Reuben Wilson,
Lakeside,
Simply Red, Simply Red, Simply Red, Simply Red.
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.