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 Greece and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Calgary 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 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 Cameo to the funk kids.
I played it at CBGB's.
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 Don Cherry. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Eve St. Jones,
Underground Resistance,
Monks,
Bush Tetras,
Major Organ And The Adding Machine,
In Retrospect,
Andrew Ashong & Theo Parrish,
The Slits,
Alton Ellis,
Japan,
Althea and Donna,
Visage,
Eurythmics,
Das Ding,
Godley & Creme,
Ultramagnetic MC's,
Kenny Larkin,
Girls At Our Best!,
The Techniques,
The Neon Judgement,
The Young Rascals,
Derrick May,
The Cure,
Robert Hood,
Surgeon,
Pere Ubu,
The Cosmic Jokers,
The Cramps,
The Alarm Clocks,
Banda Bassotti,
Max Romeo,
8 Eyed Spy,
The Divine Comedy,
Lakeside,
Alison Limerick,
Henry Cow,
Mark Hollis,
Hardrive,
Moss Icon,
Cheater Slicks,
Absolute Body Control,
Supertramp,
Grey Daturas,
Faust,
The Evens,
Stockholm Monsters,
The Human League,
Harpers Bizarre,
The Men They Couldn't Hang,
Fifty Foot Hose,
48th St. Collective,
Wally Richardson,
Nick Fraelich,
Art Ensemble Of Chicago,
Don Cherry,
Harmonia,
Freddie Wadling,
Pulsallama,
Rowland S Howard / Lydia Lunch,
AZ,
The Standells, The Standells, The Standells, The Standells.
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.