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 Australia and from Paris.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Tokyo and London.
I'm losing my edge to the art-school New York 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 sitar 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 Stockholm Monsters to the dance kids.
I played it at the Spitz.
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 Simply Red. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
The Mummies,
Bluetip,
David McCallum,
Q and Not U,
the Slits,
Royal Trux,
Das Ding,
Brick,
Charles Mingus,
Scott Walker + Sunn O))),
Theoretical Girls,
The Selecter,
The Cure,
Dawn Penn,
Girls At Our Best!,
The Fire Engines,
Danielle Patucci,
The Electric Prunes,
Brothers Johnson,
L. Decosne,
Amon Düül II,
Angels of Light & Akron/Family,
Depeche Mode,
Absolute Body Control,
The Sisters of Mercy,
New York Dolls,
Qualms,
Faraquet,
Popol Vuh,
The West Coast Pop Art Experimental Band,
Eric Copeland,
Basic Channel,
Sixth Finger,
Andrew Hill,
Infiniti,
Simply Red,
Harmonia,
Cluster,
Interpol,
The Detroit Cobras,
Wolf Eyes,
Outsiders,
Public Enemy,
Mandrill,
Sight & Sound,
Siglo XX,
Shuggie Otis,
Livin' Joy,
Ralphi Rosario,
Tomorrow,
Kayak,
Skaos,
Scion,
The Divine Comedy,
Jeff Lynne,
The Vogues,
James Chance & The Contortions,
Marmalade,
Hot Snakes,
The Names,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.