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 Venezuela and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Salvador.
I'm losing my edge to the art-school Tehran 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Ornette Coleman to the rock kids.
I played it at the Spitz.
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 Louis and Bebe Barron. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Robert Görl,
The Zeros,
World's Most,
Junior Murvin,
Fat Boys,
Pylon,
Banda Bassotti,
Gang Starr,
Tres Demented,
Electric Light Orchestra,
Bush Tetras,
Grey Daturas,
The Residents,
Prince Buster,
The Cure,
Los Fastidios,
Liaisons Dangereuses,
Ronnie Foster,
Shuggie Otis,
Adolescents,
The Sound,
Alice Coltrane,
Hardrive,
The Doors,
The Flesh Eaters,
Absolute Body Control,
Jimmy McGriff,
Black Moon,
Country Teasers,
Motorama,
The Chocolate Watch Band,
The Remains,
Pete Rock & C.L. Smooth,
The Slits,
John Cale,
China Crisis,
The Martian,
The Gun Club,
Royal Trux,
B.T. Express,
Donald Byrd,
Reagan Youth,
Moebius,
Gerry Rafferty,
The Mighty Diamonds,
Tim Buckley,
Japan,
These Immortal Souls,
The Angels of Light,
Henry Cow,
The Leaves,
Todd Rundgren,
Half Japanese,
D'Angelo,
The Monks,
Ossler,
Kaleidoscope,
Trumans Water,
The Vogues,
Albert Ayler,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.