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 Syria and from Beijing.
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 1979.
I'm losing my edge.
To all the kids in Edmonton and Lagos.
I'm losing my edge to the art-school London 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 Robert Palmer 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 Shadows of Knight to the funk kids.
I played it at the Troubador.
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 Art Ensemble Of Chicago. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Doobie Brothers,
Ultra Naté,
Half Japanese,
Mars,
The Raincoats,
Roger Hodgson,
Malaria!,
L. Decosne,
Cecil Taylor,
Scratch Acid,
Juan Atkins,
The Mojo Men,
This Heat,
David Axelrod,
Brothers Johnson,
The Music Machine,
Richard Hell and the Voidoids,
Derrick Morgan,
Aswad,
The Royal Family And The Poor,
Franke,
Deepchord,
Ponytail,
Symarip,
Mo-Dettes,
Justin Hinds & The Dominoes,
Outsiders,
Sun Ra,
Procol Harum,
Cheater Slicks,
Peter Gordon & Love of Life Orchestra,
Surgeon,
John Coltrane,
Q65,
Section 25,
Masters at Work,
Sällskapet,
The Fuzztones,
Eddi Front,
The Offenders,
Hasil Adkins,
The Residents,
The Birthday Party,
Technova,
Idris Muhammad,
The Shadows of Knight,
The J.B.'s,
Lucky Dragons,
Stiv Bators,
Brick,
Electric Light Orchestra,
Bobby Hutcherson,
David Bowie,
Michelle Simonal,
Suicide,
Heavy D & The Boyz,
The Detroit Cobras,
Gian Franco Pienzio,
The Sonics, The Sonics, The Sonics, The Sonics.
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.