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 Ghana and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Charles Mingus to the electroclash 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 Chris Corsano. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Eddi Front,
The Flesh Eaters,
Livin' Joy,
Young Marble Giants,
The United States of America,
Yusef Lateef,
Eric Dolphy,
Yazoo,
The Associates,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Shoche,
Marmalade,
Grandmaster Flash,
Barrington Levy,
Severed Heads,
Juan Atkins,
Slave,
Roy Ayers Ubiquity,
Tomorrow,
Animal Collective,
The Move,
Man Parrish,
The Skatalites,
Brick,
In Retrospect,
The Techniques,
Marvin Gaye,
The Real Kids,
The Five Americans,
Orchestral Manoeuvres in the Dark,
UT,
The American Breed,
Visage,
Tears for Fears,
Lalann,
Dark Day,
Ludus,
Anakelly,
Cameo,
Soul Sonic Force,
Mark Hollis,
Warren Ellis,
Wire,
Quando Quango,
Avey Tare & Kría Brekkan,
The Evens,
Laurel Aitken,
Erasure,
Howard Jones,
Siouxsie and the Banshees,
The Last Poets,
Pierre Henry,
It's A Beautiful Day,
Hot Snakes,
The Buckinghams,
The Monks,
Oppenheimer Analysis,
Grey Daturas,
The Knickerbockers,
Echospace,
Urselle,
EPMD,
The Doors, The Doors, The Doors, The Doors.
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.