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 Ethiopia and from Paris.
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 1960 to 1971.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Shanghai 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Patti Smith to the electroclash kids.
I played it at Trash.
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 David Axelrod. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Connie Case 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Rahsaan Roland Kirk,
The Chocolate Watch Band,
Banda Bassotti,
Sandy B,
Mandrill,
Groovy Waters,
Yaz,
ABC,
New Age Steppers,
The Gladiators,
Sex Pistols,
Tears for Fears,
New York Dolls,
Bad Manners,
Chris & Cosey,
Cluster,
Monks,
Bang On A Can,
The United States of America,
The Red Krayola,
Accadde A,
Ituana,
Jimmy McGriff,
Barry Ungar,
Ohio Players,
Q65,
Neil Young,
The Cosmic Jokers,
The Doobie Brothers,
John Cale,
Hardrive,
Ice-T,
Quantec,
Theoretical Girls,
Freddie Wadling,
Moss Icon,
Stetsasonic,
Camouflage,
cv313,
Reuben Wilson,
Essential Logic,
Siouxsie and the Banshees,
Barclay James Harvest,
Louis and Bebe Barron,
The Divine Comedy,
The Associates,
Be Bop Deluxe,
Duran Duran,
Sonic Youth,
Faust,
De La Soul & Jungle Brothers,
The Last Poets,
Malaria!,
Das Ding,
The Zeros,
Simply Red,
Tubeway Army,
Lightning Bolt,
The Slits,
CMW,
The Raincoats,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.