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 Madagascar and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Columbus 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 1976 at the first Chic practice in a loft in New York.
I was working on the oboe 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 Warren Ellis to the crunk 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 The Stooges. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
Susan Cadogan,
Jimmy McGriff,
Terrestrial Tones,
Drive Like Jehu,
Kas Product,
Smog,
The Men They Couldn't Hang,
The Walker Brothers,
The Doors,
the Sonics,
Gerry Rafferty,
Michelle Simonal,
Liliput,
Jerry Gold Smith,
Gang Gang Dance,
Colin Newman,
the Germs,
The Fire Engines,
The Knickerbockers,
Delta 5,
Masters at Work,
Pole,
Howard Jones,
The Residents,
Quadrant,
MDC,
Notorious Big And Bone Thugs,
Amon Düül II,
Glenn Branca,
Symarip,
Rotary Connection,
Stereo Dub,
Rakim,
Radiopuhelimet,
Bang on a Can All-Stars,
Kings Of Tomorrow,
Warren Ellis,
The Chocolate Watch Band,
Lonnie Liston Smith,
James Chance & The Contortions,
ABC,
The Doobie Brothers,
Cameo,
Index,
the Association,
Joe Finger,
Siglo XX,
Easy Going,
The J.B.'s,
The Detroit Cobras,
New York Dolls,
Lee Hazlewood,
Al Stewart,
Essential Logic,
The Birthday Party,
Mo-Dettes,
Stetsasonic,
Toni Rubio,
The Smiths,
K-Klass,
Joy Division,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.