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 Morocco and from Copenhagen.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school Salvador 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 organ 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 Grey Daturas to the dance kids.
I played it at the Spitz.
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 Jeru the Damaja. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nico 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?
CMW,
U.S. Maple,
Rhythm & Sound,
The Busters,
Iggy Pop,
Deutsch Amerikanische Freundschaft,
The Beau Brummels,
Technova,
Mary Jane Girls,
The Doors,
Oppenheimer Analysis,
Lungfish,
The Alarm Clocks,
Connie Case,
Scan 7,
Danielle Patucci,
Ash Ra Tempel,
Neil Young,
Mission of Burma,
The Associates,
The Gap Band,
Beasts of Bourbon,
Cabaret Voltaire,
Jeru the Damaja,
The Count Five,
Lakeside,
Sugar Minott,
Pere Ubu,
Thinking Fellers Union Local 282,
DNA,
In Retrospect,
Model 500,
The Cosmic Jokers,
The Birthday Party,
Negative Approach,
Supertramp,
Sticky Fingaz feat. Raekwon,
Kauko Röyhkä ja Narttu,
Clear Light,
Ornette Coleman,
Ten City,
The Sonics,
June Days,
Tropical Tobacco,
London Community Gospel Choir,
Strawberry Alarm Clock,
Girls At Our Best!,
Jawbox,
Mad Mike,
The Golliwogs,
Lebanon Hanover,
Lindisfarne,
Albert Ayler,
Alison Limerick,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Icehouse,
Porter Ricks,
Kayak,
Joyce Sims,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.