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 Lithuania and from Tehran.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Lagos 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 chamberlin 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 The Tremeloes to the funk kids.
I played it at the 40 Watt.
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 The Fuzztones. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Steve Hackett,
Q and Not U,
Black Sheep,
Blancmange,
The Royal Family And The Poor,
The Techniques,
The Peanut Butter Conspiracy,
Stetsasonic,
Hot Snakes,
The Gories,
Popol Vuh,
Soul Sonic Force,
Heaven 17,
Smog,
Todd Rundgren,
48th St. Collective,
MDC,
Trumans Water,
Deadbeat,
Piero Umiliani,
Teenage Jesus and the Jerks,
Kerri Chandler,
The Smiths,
Todd Terry,
Lightning Bolt,
Major Organ And The Adding Machine,
E-Dancer,
The Sound,
The West Coast Pop Art Experimental Band,
Sunsets and Hearts,
Matthew Halsall,
Moss Icon,
Animal Collective,
Lucky Dragons,
Young Marble Giants,
The Red Krayola,
Man Eating Sloth,
Sonny Sharrock,
Howard Jones,
Derrick May,
New Age Steppers,
Janne Schatter,
the Fania All-Stars,
Jawbox,
Bill Near,
Charles Mingus,
Lou Reed & Metallica,
The Mighty Diamonds,
Glambeats Corp.,
Brick,
Country Teasers,
Andrew Ashong & Theo Parrish,
Wasted Youth,
The Fall,
Quando Quango,
Marc Almond,
the Swans,
China Crisis,
Newcleus,
Mad Mike,
Isaac Hayes,
Eli Mardock,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.