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 Somalia and from Philadelphia.
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 1979.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school London 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 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 Manfred Mann's Earth Band to the funk kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Marc Almond,
Kango’s Stein Massive,
Electric Light Orchestra,
Lee Hazlewood,
Schoolly D,
The Jesus and Mary Chain,
The United States of America,
Chrome,
the Bar-Kays,
Kings Of Tomorrow,
Matthew Bourne,
Zapp,
Livin' Joy,
The Skatalites,
Alton Ellis,
Ossler,
Motorama,
Red Lorry Yellow Lorry,
David Axelrod,
Kerrie Biddell,
Brass Construction,
Zero Boys,
Hoover,
Larry & the Blue Notes,
Jacques Brel,
Cluster,
The Pretty Things,
Icehouse,
Grauzone,
China Crisis,
Dark Day,
David McCallum,
Gil Scott-Heron and Jamie xx,
Skarface,
48th St. Collective,
Crash Course in Science,
The Dead C,
Wally Richardson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
F. McDonald,
Alison Limerick,
Kerri Chandler,
The Golliwogs,
Drive Like Jehu,
Hasil Adkins,
Heavy D & The Boyz,
the Normal,
Kas Product,
Prince Buster,
The Blues Magoos,
Khruangbin,
The Dave Clark Five,
Quando Quango,
Man Parrish,
Avey Tare's Slasher Flicks,
Amon Düül,
Bang on a Can All-Stars,
Justin Hinds & The Dominoes,
Ice-T,
Au Pairs,
Carl Craig,
The Seeds,
Whodini, Whodini, Whodini, Whodini.
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.