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 Micronesia and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Madrid 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Visage to the jazz 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 Metal Thangz. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every The Detroit Cobras 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Khruangbin,
Bootsy Collins,
The Kinks,
Quadrant,
Lightning Bolt,
Tommy Roe,
This Heat,
Hardrive,
Connie Case,
Bang on a Can All-Stars,
Sandy B,
The Chocolate Watch Band,
Marine Girls,
Oppenheimer Analysis,
Alice Coltrane,
Terry Callier,
Fort Wilson Riot,
Interpol,
The Royal Family And The Poor,
H. Thieme,
Procol Harum,
48th St. Collective,
Sound Behaviour,
Mission of Burma,
Justin Hinds & The Dominoes,
Man Eating Sloth,
The Leaves,
Television Personalities,
Subhumans,
Crooked Eye,
Scratch Acid,
Al Stewart,
Faust,
Soft Machine,
Laurel Aitken,
Toni Rubio,
Section 25,
Pylon,
Pet Shop Boys,
The Peanut Butter Conspiracy,
De La Soul & Jungle Brothers,
The Offenders,
Scott Walker + Sunn O))),
Kool Moe Dee,
Gang Gang Dance,
Terrestrial Tones,
Accadde A,
the Association,
Judy Mowatt,
Boredoms,
Supertramp,
Shuggie Otis,
Wings,
the Bar-Kays,
Dawn Penn,
Erasure,
The Wake,
The Techniques,
David Axelrod,
Nirvana,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.