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 Niger and from Stockholm.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Stockholm 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 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 Patti Smith to the electroclash kids.
I played it at the Hacienda.
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 The Wake. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every The Gories 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 '70s 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 New Age Steppers record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Soft Machine,
a-ha,
Ludus,
Brick,
Michelle Simonal,
Pete Rock & C.L. Smooth,
Funky Four + One,
Electric Light Orchestra,
Eric Copeland,
Gil Scott-Heron & Brian Jackson,
Shuggie Otis,
K-Klass,
Orchestral Manoeuvres in the Dark,
The Birthday Party,
JFA,
Anakelly,
Altered Images,
The Last Poets,
Dual Sessions,
The Saints,
Simply Red,
Liliput,
Fat Boys,
The Cowsills,
Echo & the Bunnymen,
Jawbox,
Bobby Byrd,
DNA,
Aswad,
Danielle Patucci,
Lindisfarne,
Derrick May,
Sandy B,
Black Sheep,
Public Image Ltd.,
The Durutti Column,
Maleditus Sound,
Toni Rubio,
Flamin' Groovies,
Make Up,
Jacques Brel,
Rekid,
Josef K,
John Holt,
Minor Threat,
Thee Headcoats,
Index,
Kerri Chandler,
Nirvana,
Section 25,
Lee Hazlewood,
Chris & Cosey,
Sixth Finger,
Pharoah Sanders,
Das Ding,
Second Layer,
Traffic Nightmare,
The Black Dice,
Ten City,
Scan 7,
The Offenders, The Offenders, The Offenders, The Offenders.
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.