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 Maldives and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Columbus 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 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 World's Most to the crunk kids.
I played it at the Roxy.
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 Justin Hinds & The Dominoes. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
David Axelrod,
Thinking Fellers Union Local 282,
Sight & Sound,
Dorothy Ashby,
Hashim,
Marine Girls,
Bill Wells,
Moby Grape,
DJ Style,
Ultimate Spinach,
Heaven 17,
Moss Icon,
Alphaville,
Soul Sonic Force,
Scott Walker + Sunn O))),
Technova,
Notorious BIG live in Amsterdam,
Brick,
The Tremeloes,
The West Coast Pop Art Experimental Band,
Half Japanese,
Fugazi,
Red Lorry Yellow Lorry,
Saccharine Trust,
The Remains,
The Dead C,
Crash Course in Science,
Index,
The Wake,
Selector Dub Narcotic,
10cc,
John Foxx,
Lizzy Mercier Descloux,
The Zeros,
Audionom,
Judy Mowatt,
Joe Smooth,
Niagra,
Mars,
Mary Jane Girls,
U.S. Maple,
Amon Düül II,
Suburban Knight,
Electric Light Orchestra,
Jesper Dahlback,
Supertramp,
Symarip,
Chris & Cosey,
Subhumans,
Animal Collective,
Organ,
Blancmange,
Pete Rock & C.L. Smooth,
Grauzone,
Marcia Griffiths,
Major Organ And The Adding Machine,
Scion,
N.O.R.E. Featuring Pharrell,
Nas,
Mr. Review,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.