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 Maldives and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Blake Baxter to the rock kids.
I played it at the Roxy.
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 Lou Reed. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every John Holt 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Black Sheep,
La Düsseldorf,
Faust,
AZ,
Lebanon Hanover,
Dark Day,
The Buckinghams,
Sister Nancy,
Fugazi,
Ultravox,
This Heat,
Quando Quango,
Lonnie Liston Smith,
John Cale,
Kango’s Stein Massive,
The Slackers,
Aural Exciters,
The Black Dice,
Leonard Cohen,
the Germs,
Arcadia,
Fat Boys,
The Stooges,
John Foxx,
Shuggie Otis,
Freddie Wadling,
James White and The Blacks,
Jeru the Damaja,
Harmonia,
kango's stein massive,
Brothers Johnson,
Gil Scott-Heron and Jamie xx,
The American Breed,
Nils Olav,
Ultra Naté,
Cluster,
Ludus,
Country Joe & The Fish,
Maleditus Sound,
Scott Walker,
Echospace,
Minnie Riperton,
The Golliwogs,
the Swans,
Ten City,
Interpol,
The Seeds,
The Wake,
Steve Hackett,
Judy Mowatt,
The Monochrome Set,
The Moleskins,
48th St. Collective,
The Fortunes,
Make Up,
Lindisfarne,
Matthew Halsall,
Major Organ And The Adding Machine,
Soft Machine,
The Vogues,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.