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 El Salvador and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Richard Hell and the Voidoids to the disco 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 Archie Shepp. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Angels of Light & Akron/Family,
Quantec,
The Star Department,
Tom Boy,
Zapp,
Lindisfarne,
Selector Dub Narcotic,
Arab on Radar,
Idris Muhammad,
Simply Red,
Mad Mike,
Electric Prunes,
Aaron Thompson,
Au Pairs,
The Residents,
Interpol,
The Raincoats,
Arthur Verocai,
the Slits,
Liaisons Dangereuses,
John Lydon,
Kango’s Stein Massive,
Peter and Kerry,
Joe Smooth,
Brass Construction,
Ornette Coleman,
Monolake,
Eyeless In Gaza,
Cameo,
Jeru the Damaja,
Eve St. Jones,
The Human League,
Iggy Pop,
Magma,
Maleditus Sound,
Notorious BIG live in Amsterdam,
Brothers Johnson,
Kool Moe Dee,
The Detroit Cobras,
The Leaves,
The Divine Comedy,
Fifty Foot Hose,
ABC,
Nas,
World's Most,
Bobbi Humphrey,
Altered Images,
H. Thieme,
Hashim,
Todd Rundgren,
Organ,
Kenny Larkin,
Mars,
Sonic Youth,
A Flock of Seagulls,
Alice Coltrane,
Nirvana,
Yellowson,
The Misunderstood,
Thee Headcoats,
Amon Düül,
Boz Scaggs,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.