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 Argentina and from Lagos.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Milan 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Loose Ends to the disco 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 The Slackers. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
The Velvet Underground,
Carl Craig,
The Stooges,
Max Romeo,
Pole,
Heavy D & The Boyz,
Au Pairs,
Franke,
Marine Girls,
Eric B and Rakim,
Kool Moe Dee,
The Evens,
Banda Bassotti,
Chris & Cosey,
The Knickerbockers,
Flash Fearless,
Pylon,
Connie Case,
The Star Department,
Dorothy Ashby,
Newcleus,
JFA,
The Fuzztones,
The Moleskins,
Gang Gang Dance,
Ultravox,
Tropical Tobacco,
Rufus Thomas,
The Walker Brothers,
a-ha,
James Chance & The Contortions,
Andrew Ashong & Theo Parrish,
Bang On A Can,
Los Fastidios,
Grandmaster Flash,
The Music Machine,
Sun Ra,
Bobbi Humphrey,
Fear,
Man Parrish,
Spandau Ballet,
Todd Rundgren,
Sound Behaviour,
Red Lorry Yellow Lorry,
Drive Like Jehu,
Audionom,
Jesper Dahlback,
Outsiders,
Ken Boothe,
The Gap Band,
Pete Rock & C.L. Smooth,
The Sound,
the Sonics,
Alice Coltrane,
The Pretty Things,
Brass Construction,
The Men They Couldn't Hang,
Jeru the Damaja,
Maleditus Sound,
The Dead C,
Scott Walker,
Qualms,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.