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 Lithuania and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Shanghai 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 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 Swell Maps to the rock 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 Bobby Byrd. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish 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?
Joey Negro,
Audionom,
Lou Reed,
Second Layer,
Lucky Dragons,
The Gun Club,
Lee Hazlewood,
The West Coast Pop Art Experimental Band,
Soul II Soul,
Stetsasonic,
Shuggie Otis,
Avey Tare,
Matthew Bourne,
Leonard Cohen,
Make Up,
John Holt,
OOIOO,
Tim Buckley,
Clear Light,
Anthony Braxton,
Rosa Yemen,
Ludus,
Young Marble Giants,
The Associates,
Frankie Knuckles,
Mars,
Mandrill,
The Detroit Cobras,
Bad Manners,
Liaisons Dangereuses,
Country Joe & The Fish,
Rhythm & Sound,
Godley & Creme,
The Tremeloes,
Moebius,
Albert Ayler,
Crispian St. Peters,
Sexual Harrassment,
Von Mondo,
A Flock of Seagulls,
The Mighty Diamonds,
Bizarre Inc.,
Interpol,
Anakelly,
Brothers Johnson,
Kas Product,
The Mojo Men,
Al Stewart,
Gang Starr,
Cymande,
Talk Talk,
Super Lover Cee & Casanova Rud,
Derrick Morgan,
Pharaoh Sanders and the Fire Engines,
Manfred Mann's Earth Band,
Ash Ra Tempel,
Eric Dolphy,
Warren Ellis,
David Axelrod,
Main Source,
The Gladiators,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.