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 Mozambique and from Jakarta.
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 1963 to 1978.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Calgary 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Bootsy Collins to the electroclash 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 Godley & Creme. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The Motions 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Pop Group,
Bobby Womack,
Rites of Spring,
Lungfish,
Selector Dub Narcotic,
Absolute Body Control,
Model 500,
Strawberry Alarm Clock,
Girls At Our Best!,
Kenny Larkin,
DNA,
The Jesus and Mary Chain,
The Sisters of Mercy,
John Coltrane,
Bob Dylan,
Von Mondo,
Rekid,
Electric Prunes,
The Selecter,
Zapp,
Sad Lovers and Giants,
Trumans Water,
Camberwell Now,
Archie Shepp,
Spandau Ballet,
Reagan Youth,
Bobby Sherman,
Sun Ra Arkestra,
Severed Heads,
Ultramagnetic MC's,
David Axelrod,
Eli Mardock,
the Germs,
Brick,
H. Thieme,
Lonnie Liston Smith,
Bizarre Inc.,
cv313,
The Sound,
The Shadows of Knight,
Skarface,
Intrusion,
Joensuu 1685,
Mo-Dettes,
Sam Rivers,
Alison Limerick,
Shoche,
Scott Walker + Sunn O))),
Tim Buckley,
The J.B.'s,
Morten Harket,
Clear Light,
Röyhkä ja Rättö ja Lehtisalo,
Duran Duran,
Mary Jane Girls,
Albert Ayler,
Q65,
Roy Ayers,
the Normal,
Eden Ahbez,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.