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 El Salvador and from Madrid.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Madrid and Accra.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Symarip to the dance kids.
I played it at the Spitz.
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 Piero Umiliani. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
The Standells,
Jacob Miller,
Oneida,
Lee Hazlewood,
The Stooges,
In Retrospect,
Strawberry Alarm Clock,
Sly & The Family Stone,
Bobbi Humphrey,
Howard Jones,
Ultravox,
Ultimate Spinach,
Lyres,
Nik Kershaw,
Lou Reed,
Q and Not U,
Main Source,
World's Most,
Ash Ra Tempel,
Outsiders,
The Knickerbockers,
Sixth Finger,
Yaz,
Junior Murvin,
Lower 48,
The Martian,
Minutemen,
Smog,
The New Christs,
Gang Starr,
The Grass Roots,
Crooked Eye,
John Coltrane,
Jeff Mills,
Alice Coltrane,
Magma,
Lalo Schifrin,
The Fall,
Qualms,
Bobby Sherman,
The Blues Magoos,
Be Bop Deluxe,
Barrington Levy,
Rahsaan Roland Kirk,
Lebanon Hanover,
Kenny Larkin,
Chris & Cosey,
The Alarm Clocks,
Ossler,
James White and The Blacks,
Underground Resistance,
Procol Harum,
Scientists,
Delta 5,
The J.B.'s,
Flipper,
Accadde A,
Andrew Hill,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.