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 Algeria and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Moebius to the techno kids.
I played it at the Hacienda.
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 Dead C. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Hashim 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Gang Gang Dance,
The Alarm Clocks,
Fela Kuti,
Warsaw,
Masters at Work,
Kevin Saunderson,
Freddie Wadling,
John Foxx,
Suicide,
Fugazi,
The Jesus and Mary Chain,
The Electric Prunes,
Minny Pops,
Gastr Del Sol,
Echo & the Bunnymen,
Ice-T,
Y Pants,
This Heat,
Sly & The Family Stone,
Negative Approach,
Brand Nubian,
John Coltrane,
Scan 7,
Newcleus,
Unwound,
The Skatalites,
Rahsaan Roland Kirk,
Peter & Gordon,
Trumans Water,
kango's stein massive,
Juan Atkins,
Wings,
Arthur Verocai,
One Last Wish,
Sixth Finger,
The Dave Clark Five,
Robert Görl,
Gichy Dan,
Warren Ellis,
Nick Cave & The Bad Seeds,
Main Source,
Television,
The Pop Group,
Sam Rivers,
Dorothy Ashby,
Todd Rundgren,
Matthew Bourne,
Technova,
Rakim,
Avey Tare & Kría Brekkan,
EPMD,
Patti Smith,
The Fortunes,
Gang of Four,
Essential Logic,
Arcadia,
The Buckinghams,
Barry Ungar,
The Saints,
Lee Hazlewood,
CMW,
The Tremeloes,
Swans,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.