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 Solomon Islands and from Paris.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Connie Case to the funk 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 Matthew Halsall. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
The Velvet Underground,
48th St. Collective,
The Flesh Eaters,
Skriet,
Can,
Pussy Galore,
De La Soul & Jungle Brothers,
Justin Hinds & The Dominoes,
The Fugs,
The Red Krayola,
Blancmange,
Crooked Eye,
Scrapy,
New Age Steppers,
Vladislav Delay,
Stockholm Monsters,
These Immortal Souls,
Delta 5,
Peter & Gordon,
Quadrant,
The Sonics,
Con Funk Shun,
Whodini,
Terrestrial Tones,
Severed Heads,
The Modern Lovers,
The Cramps,
The Barracudas,
Scott Walker,
F. McDonald,
James White and The Blacks,
The Victims,
Erasure,
China Crisis,
Popol Vuh,
Bill Wells,
Boogie Down Productions,
Derrick May,
Nirvana,
The Doors,
Grandmaster Flash and the Furious Five,
Don Cherry,
Terror Squad Feat. Camron,
The Detroit Cobras,
DJ Style,
FM Einheit,
Sound Behaviour,
Ken Boothe,
Panda Bear,
Rakim,
Gary Puckett & The Union Gap,
Infiniti,
Eric Dolphy,
Magazine,
the Sonics,
In Retrospect,
Mars,
Bluetip,
AZ,
UT,
Lizzy Mercier Descloux,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.