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 Belize and from Copenhagen.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Manchester 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 JFA to the grunge kids.
I played it at the Crocodile.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Ralphi Rosario,
Pulsallama,
Fear,
Laurel Aitken,
Moby Grape,
Sixth Finger,
Gian Franco Pienzio,
Skriet,
Jawbox,
Robert Wyatt,
Infiniti,
Television Personalities,
Kool Moe Dee,
Bill Wells,
the Bar-Kays,
Pet Shop Boys,
The Techniques,
Eden Ahbez,
The Names,
Cluster,
Vaughan Mason & Crew,
The Evens,
Piero Umiliani,
The Slits,
The Fire Engines,
Dead Boys,
Crispian St. Peters,
Aaron Thompson,
Grandmaster Flash,
Wally Richardson,
Loose Ends,
Harmonia,
Junior Murvin,
Wasted Youth,
Throbbing Gristle,
Cabaret Voltaire,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
Accadde A,
48th St. Collective,
Kaleidoscope,
The Smoke,
Q and Not U,
Cecil Taylor,
Ultramagnetic MC's,
Lakeside,
Blossom Toes,
The Five Americans,
Brick,
Neu!,
The American Breed,
Kerrie Biddell,
EPMD,
Tommy Roe,
Kevin Saunderson,
Jacob Miller,
Ultra Naté,
Mad Mike,
Art Ensemble Of Chicago,
Kango’s Stein Massive,
Motorama, Motorama, Motorama, Motorama.
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.