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 Turkmenistan and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Columbus 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Pantaleimon to the disco kids.
I played it at the Astoria.
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 Dark Day. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Orchestral Manoeuvres in the Dark,
Ultravox,
Manfred Mann's Earth Band,
Terrestrial Tones,
Piero Umiliani,
David McCallum,
Stockholm Monsters,
Fluxion,
Gichy Dan,
Alice Coltrane,
Aswad,
Schoolly D,
John Coltrane,
Yaz,
The Cowsills,
The Moleskins,
Oneida,
Con Funk Shun,
Circle Jerks,
Gabor Szabo,
Gang Starr,
La Düsseldorf,
Donny Hathaway,
Joey Negro,
T.S.O.L.,
Camouflage,
New Age Steppers,
Jeff Lynne,
Terry Callier,
The Grass Roots,
Brass Construction,
Lee Hazlewood,
Lalann,
Scion,
The Gap Band,
Byron Stingily,
Black Sheep,
Interpol,
Bluetip,
The J.B.'s,
The Seeds,
Roger Hodgson,
Excepter,
Roy Ayers Ubiquity,
Ultimate Spinach,
Fear,
Faraquet,
Neil Young & Crazy Horse,
Camberwell Now,
Ronan,
Rekid,
Laurel Aitken,
Justin Hinds & The Dominoes,
Scott Walker + Sunn O))),
Rites of Spring,
Electric Prunes,
Guru Guru,
Carl Craig,
The Buckinghams,
Pole,
The Associates,
Joy Division,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.