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 San Marino and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Halifax.
I'm losing my edge to the art-school Stockholm 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 at the first Suicide practice in a loft in New York.
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 Roy Ayers to the disco kids.
I played it at the Hacienda.
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 Roy Ayers. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Porter Ricks,
Radiopuhelimet,
Crime,
Shuggie Otis,
Jerry Gold Smith,
Tim Buckley,
Rosa Yemen,
Sex Pistols,
Lafayette Afro Rock Band,
Iggy Pop,
KRS-One,
Inner City,
Quadrant,
The Shadows of Knight,
Robert Hood,
Ornette Coleman,
Parry Music,
Bauhaus,
Trumans Water,
Excepter,
Magazine,
The Pop Group,
Throbbing Gristle,
Jeru the Damaja,
Popol Vuh,
Aural Exciters,
World's Most,
Kerrie Biddell,
Tropical Tobacco,
Nick Fraelich,
Black Bananas,
Underground Resistance,
Visage,
The Cosmic Jokers,
Gil Scott-Heron & Brian Jackson,
Hasil Adkins,
Severed Heads,
Youth Brigade,
Echospace,
The Standells,
Albert Ayler,
John Coltrane,
Oblivians,
Gregory Isaacs,
The Wake,
The Martian,
Ohio Players,
Q and Not U,
The Men They Couldn't Hang,
The Zeros,
The Gories,
Bluetip,
John Cale,
The Flesh Eaters,
Johnny Osbourne,
James Chance & The Contortions,
Camberwell Now,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane.
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.