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 Haiti and from Woodstock.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Milan and Woodstock.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ 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 Lebanon Hanover to the disco kids.
I played it at the Crocodile.
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 Sonics. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp 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?
Chris & Cosey,
Joe Smooth,
E-Dancer,
Rufus Thomas,
Loose Ends,
Gil Scott Heron,
Bobby Sherman,
Jerry Gold Smith,
T. Rex,
The Cosmic Jokers,
Amon Düül II,
These Immortal Souls,
The Red Krayola,
the Human League,
Teenage Jesus and the Jerks,
Saccharine Trust,
Khruangbin,
Big Daddy Kane,
Dark Day,
The Star Department,
Jerry's Kids,
Gary Puckett & The Union Gap,
Suicide,
Skaos,
Theoretical Girls,
KRS-One,
Pole,
The Cowsills,
Barbara Tucker,
The West Coast Pop Art Experimental Band,
PIL,
Wire,
Mad Mike,
The Chocolate Watch Band,
Buzzcocks,
Freddie Wadling,
Interpol,
Magazine,
Ten City,
Jacques Brel,
The Young Rascals,
Bang On A Can,
Dual Sessions,
The Gap Band,
The Index,
Lucky Dragons,
Jimmy McGriff,
Kool Moe Dee,
Eric Dolphy,
Ohio Players,
Slave,
Byron Stingily,
Scratch Acid,
DJ Style,
Darondo,
Lee Hazlewood,
Sonic Youth,
Lungfish,
Glambeats Corp.,
Blossom Toes,
Pylon,
Bauhaus,
Grauzone,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.