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 Cape Verde and from Calgary.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 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 Dead Boys to the jazz 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 Pharoah Sanders. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every A Flock of Seagulls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Skriet,
Nas,
Deadbeat,
Robert Wyatt,
The Real Kids,
The Stooges,
The Sound,
Bang On A Can,
Make Up,
Röyhkä ja Rättö ja Lehtisalo,
Susan Cadogan,
The Shadows of Knight,
The Durutti Column,
Sonic Youth,
Tears for Fears,
Visage,
John Lydon,
DJ Style,
Andrew Hill,
Nation of Ulysses,
The Pretty Things,
Camouflage,
Bootsy Collins,
Scion,
New York Dolls,
Country Teasers,
Lakeside,
The Barracudas,
Aural Exciters,
Rapeman,
Mission of Burma,
Maleditus Sound,
La Düsseldorf,
Outsiders,
Bauhaus,
Flamin' Groovies,
L. Decosne,
In Retrospect,
Japan,
Eli Mardock,
Rhythim Is Rhythim,
Aloha Tigers,
Absolute Body Control,
One Last Wish,
Judy Mowatt,
London Community Gospel Choir,
The Pop Group,
Maurizio,
Adolescents,
Kerrie Biddell,
Sun Ra,
Dual Sessions,
Chrome,
The Invisible,
AZ,
The Cowsills,
Erykah Badu,
Yazoo,
Index, Index, Index, Index.
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.