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 Hungary and from Johannesburg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Portland 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Slits to the rock 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 Section 25. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Scientists,
Al Stewart,
Suburban Knight,
Guru Guru,
Teenage Jesus and the Jerks,
Drexciya,
Gil Scott-Heron & Brian Jackson,
Tears for Fears,
Joey Negro,
Kayak,
Bauhaus,
Television,
The Misunderstood,
Sam Rivers,
Gichy Dan,
Andrew Hill,
The Residents,
The Last Poets,
Thee Headcoats,
Ossler,
Jeff Mills,
Aloha Tigers,
Oppenheimer Analysis,
David McCallum,
The Flesh Eaters,
The Velvet Underground,
Man Parrish,
Jerry Gold Smith,
Nick Cave & The Bad Seeds,
Organ,
The Pop Group,
The Barracudas,
Dark Day,
EPMD,
The Sisters of Mercy,
Soul Sonic Force,
Mars,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sarah Menescal,
Juan Atkins,
Malaria!,
The Durutti Column,
Grandmaster Flash and the Furious Five,
Zapp,
Fugazi,
Magazine,
The Evens,
Deutsch Amerikanische Freundschaft,
Fort Wilson Riot,
Public Enemy,
Lungfish,
Cheater Slicks,
Sun City Girls,
Arcadia,
Marc Romboy vs. Booka Shade,
Tropical Tobacco,
The Jesus and Mary Chain,
Avey Tare & Kría Brekkan,
Richard Hell and the Voidoids,
Unrelated Segments,
Deakin,
Ultravox,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.