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 Norway and from Mexico City.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Bremen and Accra.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the theremin 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 Dual Sessions to the dance kids.
I played it at the 40 Watt.
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 Marc Almond. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every the Soft Cell 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
D'Angelo,
Lafayette Afro Rock Band,
Big Daddy Kane,
F. McDonald,
The Modern Lovers,
The Move,
The Count Five,
Peter and Kerry,
Joe Smooth,
Crash Course in Science,
Ossler,
Popol Vuh,
Pulsallama,
Fifty Foot Hose,
Qualms,
Avey Tare's Slasher Flicks,
Slick Rick,
The Barracudas,
Quadrant,
Electric Prunes,
Todd Rundgren,
the Bar-Kays,
Robert Wyatt,
The American Breed,
Index,
Tim Buckley,
Zero Boys,
Kerrie Biddell,
Curtis Mayfield,
Ornette Coleman,
H. Thieme,
Technova,
Basic Channel,
Zapp,
Lou Reed,
New Order,
The Flesh Eaters,
The Real Kids,
Camouflage,
Unrelated Segments,
Röyhkä ja Rättö ja Lehtisalo,
The Birthday Party,
The Selecter,
Hashim,
Von Mondo,
Peter Gordon & Love of Life Orchestra,
Mission of Burma,
Scientists,
John Foxx,
Michelle Simonal,
Jacob Miller,
Black Moon,
The Dave Clark Five,
New York Dolls,
Drexciya,
Essential Logic,
Sam Rivers,
June of 44,
Cecil Taylor,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.