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 Mauritania and from Columbus.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Shanghai 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 spring reverb 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 Bill Near to the electroclash 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 Blancmange. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Roy Ayers,
10cc,
Wire,
Cecil Taylor,
Section 25,
Spandau Ballet,
Robert Görl,
Crash Course in Science,
Stiv Bators,
K-Klass,
These Immortal Souls,
De La Soul & Jungle Brothers,
The Index,
John Lydon,
The Grass Roots,
It's A Beautiful Day,
Leonard Cohen,
Aaron Thompson,
Minnie Riperton,
John Holt,
Underground Resistance,
Ken Boothe,
Barclay James Harvest,
Nation of Ulysses,
Drive Like Jehu,
The Invisible,
Frankie Knuckles,
Blossom Toes,
La Düsseldorf,
Heaven 17,
Deakin,
Supertramp,
Talk Talk,
JFA,
Black Moon,
Bauhaus,
Infiniti,
Nico,
Fluxion,
X-102,
Shoche,
MDC,
Unwound,
Visionaries,LMNO, T- Love & Iriscience,
Dark Day,
Fat Boys,
The Busters,
Adolescents,
Sister Nancy,
Lyres,
Maurizio,
The Toasters,
Hasil Adkins,
Silicon Teens,
U.S. Maple,
Ralphi Rosario,
Big Daddy Kane,
Funky Four + One,
Duran Duran,
The Dead C,
Bob Dylan,
Maleditus Sound,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.