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 Indonesia and from Sao Paulo.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Winnipeg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 Unrelated Segments to the dance kids.
I played it at the Roxy.
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 Blancmange. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Nils Olav 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Clear Light,
Niagra,
Aswad,
DJ Sneak,
Grandmaster Flash and the Furious Five,
Selector Dub Narcotic,
Sonic Youth,
Ludus,
Jeff Mills,
The Victims,
Yellowson,
Byron Stingily,
The Cosmic Jokers,
Icehouse,
Fort Wilson Riot,
Barclay James Harvest,
The Sisters of Mercy,
Quadrant,
Jeru the Damaja,
Black Moon,
Fifty Foot Hose,
Joy Division,
Cluster,
Young Marble Giants,
Jesper Dahlback,
Teenage Jesus and the Jerks,
Fluxion,
Urselle,
Thee Headcoats,
DJ Style,
Bobby Sherman,
World's Most,
Kerri Chandler,
Technova,
Thompson Twins,
Sex Pistols,
Ultimate Spinach,
Agitation Free,
Howard Jones,
The Human League,
The Fugs,
Grauzone,
The Star Department,
The Kinks,
The American Breed,
The Shadows of Knight,
the Bar-Kays,
Khruangbin,
Agent Orange,
Orchestral Manoeuvres in the Dark,
The Birthday Party,
Sixth Finger,
Al Stewart,
Eden Ahbez,
Minny Pops,
John Cale,
The Black Dice,
Dennis Brown,
Scratch Acid,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.