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 Brunei and from Columbus.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Seoul 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 güiro sounds with much patience.
I was there when Michael McDonald 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 The Alarm Clocks to the jazz kids.
I played it at Cafe Wha.
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 Sexual Harrassment. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Absolute Body Control,
X-102,
Marcia Griffiths,
Trumans Water,
Lou Reed & John Cale,
The Slackers,
Drive Like Jehu,
The Grass Roots,
The J.B.'s,
Inner City,
Crooked Eye,
Ultimate Spinach,
The Mighty Diamonds,
These Immortal Souls,
Moebius,
Howard Jones,
Swans,
The Human League,
Quantec,
Radiohead,
David Bowie,
The Gladiators,
Marmalade,
Mark Hollis,
the Normal,
Lightning Bolt,
Von Mondo,
The United States of America,
Fat Boys,
H. Thieme,
Depeche Mode,
48th St. Collective,
Al Stewart,
Moss Icon,
Thee Headcoats,
Lizzy Mercier Descloux,
cv313,
The Skatalites,
Andrew Hill,
Yaz,
Lucky Dragons,
La Düsseldorf,
Todd Rundgren,
The Barracudas,
Rod Modell,
Schoolly D,
Arcadia,
Lou Reed & Metallica,
The Busters,
Grauzone,
The Neon Judgement,
Fear,
Scott Walker,
June of 44,
The Monks,
Ken Boothe,
Slave,
Sun Ra,
Jesper Dahlbäck,
Ajijia Myrayebe,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.