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 Equatorial Guinea and from Lille.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Beijing.
I'm losing my edge to the art-school Mumbai 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 Lou Reed 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 Ituana to the dance kids.
I played it at CBGB's.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Bang On A Can 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 '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger 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?
The Evens,
The Wake,
Prince Buster,
Urselle,
Pantaleimon,
Tropical Tobacco,
John Holt,
James Chance & The Contortions,
Joensuu 1685,
Gong,
Sun Ra Arkestra,
Oppenheimer Analysis,
Motorama,
Jeff Mills,
The Busters,
Ponytail,
New Order,
Pete Rock & C.L. Smooth,
The Cramps,
Trumans Water,
The Walker Brothers,
Marc Almond,
Siouxsie and the Banshees,
Fifty Foot Hose,
JFA,
The Mummies,
Silicon Teens,
Visage,
The Neon Judgement,
Marine Girls,
The Raincoats,
FM Einheit,
Eric Dolphy,
The Gap Band,
Strawberry Alarm Clock,
Model 500,
Juan Atkins,
Danielle Patucci,
The Smiths,
The Flesh Eaters,
Barry Ungar,
Reagan Youth,
Section 25,
Soulsonic Force,
Wings,
Sarah Menescal,
Notorious Big And Bone Thugs,
The Litter,
Peter Gordon & Love of Life Orchestra,
Roxette,
Vladislav Delay,
Barclay James Harvest,
The Selecter,
T.S.O.L.,
Andrew Ashong & Theo Parrish,
Gang Green,
Bobby Womack,
Nik Kershaw,
Rotary Connection,
Camron Feat. Memphis Bleek And Beenie Seigel,
Deadbeat,
The Residents, The Residents, The Residents, The Residents.
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.