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 Papua New Guinea and from London.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Halifax 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 James Chance & The Contortions to the disco 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 Sandy B. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
The Gories,
Ponytail,
Girls At Our Best!,
Tropical Tobacco,
Sällskapet,
The Cosmic Jokers,
Marc Romboy vs. Booka Shade,
Strawberry Alarm Clock,
Liaisons Dangereuses,
The Skatalites,
Roxy Music,
Can,
Boogie Down Productions,
The Smoke,
Zapp,
MDC,
Urselle,
Hardrive,
John Foxx,
Gichy Dan,
The Searchers,
FM Einheit,
Charles Mingus,
The American Breed,
Tears for Fears,
Donald Byrd,
New York Dolls,
Absolute Body Control,
Letta Mbulu,
Art Ensemble Of Chicago,
Crispian St. Peters,
Johnny Osbourne,
Con Funk Shun,
Banda Bassotti,
Oppenheimer Analysis,
A Flock of Seagulls,
Fela Kuti,
Country Joe & The Fish,
Minnie Riperton,
Von Mondo,
Vladislav Delay,
Louis and Bebe Barron,
Boz Scaggs,
Tom Boy,
Stetsasonic,
Model 500,
Quadrant,
Average White Band,
Dennis Brown,
Nas,
the Slits,
Saccharine Trust,
Isaac Hayes,
Lou Christie,
Lower 48,
The Dave Clark Five,
Ohio Players,
Roxette,
Technova,
The Tremeloes,
LL Cool J,
June Days,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.