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 Bulgaria and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Spokane 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Motorama to the disco kids.
I played it at the Crocodile.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Aaron Thompson,
Todd Terry,
the Soft Cell,
A Flock of Seagulls,
Aural Exciters,
Pete Rock & C.L. Smooth,
The Dave Clark Five,
Fat Boys,
Mo-Dettes,
Susan Cadogan,
Echospace,
Jeru the Damaja,
Sonny Sharrock,
Prince Buster,
Moss Icon,
Super Lover Cee & Casanova Rud,
Unrelated Segments,
The Litter,
Gil Scott-Heron & Brian Jackson,
Gian Franco Pienzio,
Sexual Harrassment,
Minny Pops,
Cluster,
The Martian,
Deadbeat,
Blake Baxter,
Neu!,
Neil Young & Crazy Horse,
Lower 48,
Swell Maps,
Dorothy Ashby,
Section 25,
Reuben Wilson,
Cymande,
Blancmange,
Desert Stars,
Sly & The Family Stone,
The Music Machine,
Barry Ungar,
Subhumans,
The Count Five,
Glenn Branca,
Bob Dylan,
Gang Green,
Joensuu 1685,
Smog,
U.S. Maple,
The Doobie Brothers,
Thee Headcoats,
F. McDonald,
Yazoo,
Ituana,
Andrew Hill,
James White and The Blacks,
Chrome,
Lucky Dragons,
Throbbing Gristle,
Underground Resistance,
Pantytec,
The Vogues, The Vogues, The Vogues, The Vogues.
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.