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 Palau and from Spokane.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Anthony Braxton to the dance kids.
I played it at Cafe Wha.
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 Leaves. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Lalo Schifrin 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Monolake,
Davy DMX,
China Crisis,
Negative Approach,
John Coltrane,
Agent Orange,
Sad Lovers and Giants,
Bootsy's Rubber Band,
The Leaves,
Toni Rubio,
Lou Christie,
Newcleus,
Lonnie Liston Smith,
Jerry Gold Smith,
Au Pairs,
Fat Boys,
Mark Hollis,
Alison Limerick,
Danielle Patucci,
Half Japanese,
Marc Almond,
Brick,
Letta Mbulu,
New York Dolls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wolf Eyes,
Simply Red,
Angels of Light & Akron/Family,
These Immortal Souls,
Livin' Joy,
Lizzy Mercier Descloux,
Skaos,
Bobby Sherman,
Kool Moe Dee,
Flamin' Groovies,
Angry Samoans,
Pet Shop Boys,
The Red Krayola,
JFA,
Glambeats Corp.,
The Remains,
Bizarre Inc.,
Beasts of Bourbon,
Goldenarms,
The Slits,
Pole,
The Associates,
Fear,
The Dave Clark Five,
The American Breed,
Soulsonic Force,
Clear Light,
Notorious Big And Bone Thugs,
Parry Music,
Lindisfarne,
Henry Cow,
Zero Boys,
Lalo Schifrin,
Basic Channel,
Japan,
Neil Young,
MDC, MDC, MDC, MDC.
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.