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 Denmark and from Manila.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 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 Tropical Tobacco to the electroclash 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 Soft Machine. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Marshall Jefferson 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Peter and Kerry,
Louis and Bebe Barron,
Aural Exciters,
Jandek,
Los Fastidios,
Sad Lovers and Giants,
The Victims,
Al Stewart,
Kerrie Biddell,
Fifty Foot Hose,
Harmonia,
Sexual Harrassment,
Cymande,
kango's stein massive,
Chris & Cosey,
Jeru the Damaja,
The Motions,
Absolute Body Control,
Ronan,
The Pop Group,
Animal Collective,
PIL,
Soft Machine,
Porter Ricks,
The Sonics,
The Black Dice,
UT,
Man Parrish,
Deakin,
Terry Callier,
It's A Beautiful Day,
Saccharine Trust,
Newcleus,
The Selecter,
Main Source,
Tomorrow,
Rotary Connection,
The Slackers,
Can,
Rufus Thomas,
Robert Hood,
Lou Reed,
Das Ding,
Cluster,
Sister Nancy,
Moss Icon,
Sugar Minott,
Blake Baxter,
Popol Vuh,
Unrelated Segments,
Livin' Joy,
Marvin Gaye,
Dr. Dre and Snoop Doggy Dog,
The Litter,
Audionom,
Captain Beefheart & His Magic Band,
The Zeros,
Wolf Eyes,
The Golliwogs,
Talk Talk,
Byron Stingily,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.