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 Syria and from Glasgow.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Beijing 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Make Up to the grunge kids.
I played it at the Troubador.
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 Minny Pops. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Hoover 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Lonnie Liston Smith,
A Certain Ratio,
Slick Rick,
Desert Stars,
Severed Heads,
Nick Fraelich,
Ludus,
Sparks,
Stetsasonic,
Supertramp,
Howard Jones,
Don Cherry,
Laurel Aitken,
The Modern Lovers,
The Dead C,
Throbbing Gristle,
Monks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Liliput,
Amazonics,
The Neon Judgement,
Blake Baxter,
Barry Ungar,
Black Sheep,
Rotary Connection,
The Litter,
Selector Dub Narcotic,
Al Stewart,
The Men They Couldn't Hang,
Public Enemy,
Deutsch Amerikanische Freundschaft,
Beasts of Bourbon,
Pere Ubu,
Kool G Rap & DJ Polo,
The Buckinghams,
Sunsets and Hearts,
Andrew Hill,
The Searchers,
Archie Shepp,
Cymande,
The Young Rascals,
Heavy D & The Boyz,
Sixth Finger,
The Associates,
Siouxsie and the Banshees,
Amon Düül,
Roy Ayers,
Drive Like Jehu,
Ultra Naté,
This Heat,
Jandek,
Section 25,
Q65,
the Sonics,
Arthur Verocai,
Dark Day,
Girls At Our Best!,
Avey Tare & Kría Brekkan,
Mantronix,
Arcadia, Arcadia, Arcadia, Arcadia.
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.