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 Panama and from Manila.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 David Axelrod to the disco 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 Notorious Big And Bone Thugs. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Aural Exciters 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Juan Atkins,
Jawbox,
Make Up,
The Motions,
Dennis Brown,
The Pop Group,
The Raincoats,
Wire,
Jacques Brel,
Captain Beefheart & His Magic Band,
Brick,
Agent Orange,
The Moleskins,
Unrelated Segments,
Crispian St. Peters,
Yazoo,
Ponytail,
Magma,
Danielle Patucci,
Harmonia,
Amon Düül,
The Gun Club,
Nico,
Nik Kershaw,
Ornette Coleman,
Todd Terry,
Country Teasers,
Echospace,
Absolute Body Control,
Pylon,
Panda Bear,
In Retrospect,
Minny Pops,
Lindisfarne,
The Peanut Butter Conspiracy,
Motorama,
Kerrie Biddell,
Cheater Slicks,
Eric B and Rakim,
Grandmaster Flash,
Underground Resistance,
Jandek,
Loose Ends,
The Birthday Party,
Sticky Fingaz feat. Raekwon,
Heaven 17,
Moss Icon,
Bizarre Inc.,
Black Flag,
Glenn Branca,
Rod Modell,
Peter & Gordon,
Mandrill,
Brass Construction,
Accadde A,
Sugar Minott,
Marc Romboy vs. Booka Shade,
Y Pants,
Donny Hathaway,
Lower 48,
Archie Shepp,
Lou Reed & Metallica,
The Doors, The Doors, The Doors, The Doors.
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.