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 Grenada and from Bologna.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Houston 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 sitar 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 Deadbeat to the jazz 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 Brass Construction. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every The Five Americans 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
The Cramps,
The Standells,
Essential Logic,
The Litter,
Liaisons Dangereuses,
Yaz,
Albert Ayler,
Pharoah Sanders,
Orchestral Manoeuvres in the Dark,
Faust,
T. Rex,
Deadbeat,
Sly & The Family Stone,
Drexciya,
Stockholm Monsters,
The Alarm Clocks,
Kings Of Tomorrow,
Ornette Coleman,
Strawberry Alarm Clock,
E-Dancer,
Moebius,
Lindisfarne,
Grandmaster Flash and the Furious Five,
Neil Young,
Zapp,
Echospace,
The Golliwogs,
New Order,
Ultravox,
Rhythm & Sound,
Skriet,
Gang of Four,
Underground Resistance,
Art Ensemble Of Chicago,
Marc Almond,
Sad Lovers and Giants,
Blossom Toes,
Susan Cadogan,
Prince Buster,
CMW,
Man Parrish,
Simply Red,
AZ,
Circle Jerks,
The Flesh Eaters,
Sound Behaviour,
Khruangbin,
Fluxion,
Kool G Rap & DJ Polo,
Technova,
Country Teasers,
Average White Band,
Fort Wilson Riot,
Barrington Levy,
Arab on Radar,
Alton Ellis,
Big Daddy Kane,
Radiopuhelimet,
Silicon Teens,
The Sonics,
Dennis Brown,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.