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 Italy and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Ash Ra Tempel to the jazz 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 Grandmaster Flash and the Furious Five. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Busters,
The Beau Brummels,
The Fuzztones,
Matthew Bourne,
The Offenders,
Lakeside,
Lonnie Liston Smith,
Rowland S Howard / Lydia Lunch,
Kurtis Blow,
Anthony Braxton,
Graham Central Station,
10cc,
Jerry Gold Smith,
Hashim,
Cymande,
H. Thieme,
Judy Mowatt,
Radiohead,
Inner City,
Fort Wilson Riot,
Ultravox,
China Crisis,
Eve St. Jones,
Charles Mingus,
Crispian St. Peters,
Silicon Teens,
Jeru the Damaja,
Bobbi Humphrey,
Derrick May,
Q65,
Davy DMX,
Tomorrow,
Sad Lovers and Giants,
Rhythm & Sound,
Radiopuhelimet,
Bad Manners,
Panda Bear,
Ornette Coleman,
Shuggie Otis,
Nico,
Visage,
Yusef Lateef,
The Birthday Party,
The Cure,
the Germs,
The American Breed,
Ralphi Rosario,
Magma,
Q and Not U,
Lucky Dragons,
Skriet,
Idris Muhammad,
Byron Stingily,
David Axelrod,
Parry Music,
The Victims,
the Slits,
Tom Boy,
Blake Baxter,
Althea and Donna,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.