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 Zambia 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 1963 to 1979.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Cairo 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 marimba 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 La Düsseldorf to the grime 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 Icehouse. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Wighnomy Brothers & Robag Wruhme,
Scott Walker,
The Detroit Cobras,
Angels of Light & Akron/Family,
In Retrospect,
Pete Rock & C.L. Smooth,
Beasts of Bourbon,
the Fania All-Stars,
Roger Hodgson,
Fugazi,
Faust,
Deutsch Amerikanische Freundschaft,
The Sisters of Mercy,
Todd Rundgren,
Zapp,
Godley & Creme,
Sarah Menescal,
Aaron Thompson,
Crispian St. Peters,
Tomorrow,
Roy Ayers Ubiquity,
Slave,
Moss Icon,
The Index,
Minutemen,
Cabaret Voltaire,
Arthur Verocai,
Michelle Simonal,
Au Pairs,
Ultra Naté,
The Evens,
Liaisons Dangereuses,
Fluxion,
De La Soul & Jungle Brothers,
Ponytail,
PIL,
Bobby Womack,
MC5,
Gang Gang Dance,
Sugar Minott,
Red Lorry Yellow Lorry,
Bluetip,
Jeru the Damaja,
Joey Negro,
Barrington Levy,
Gil Scott Heron,
The Barracudas,
The Pretty Things,
The J.B.'s,
Nick Fraelich,
Black Flag,
Nils Olav,
Groovy Waters,
Scion,
Lucky Dragons,
Pagans,
Lizzy Mercier Descloux,
Interpol,
Wally Richardson,
Joyce Sims,
Parry Music,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.