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 St Lucia and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Woodstock 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 1968 at the first Can practice in a loft in Cologne.
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 The Chocolate Watch Band to the techno 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 The Royal Family And The Poor. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
The Victims,
Stetsasonic,
Cameo,
Rowland S Howard / Lydia Lunch,
Byron Stingily,
Infiniti,
Hoover,
Bizarre Inc.,
Terry Callier,
Magazine,
Visage,
Ponytail,
The United States of America,
Dr. Dre and Snoop Doggy Dog,
Jeff Mills,
Sam Rivers,
Yusef Lateef,
Warsaw,
Be Bop Deluxe,
Rites of Spring,
James Chance & The Contortions,
Can,
Matthew Halsall,
The J.B.'s,
The Cure,
Trumans Water,
E-Dancer,
The Moleskins,
Siouxsie and the Banshees,
The Dirtbombs,
Skriet,
The Mummies,
Robert Hood,
Lou Reed,
Section 25,
Sister Nancy,
Siglo XX,
Intrusion,
The Index,
The Count Five,
Radio Birdman,
Swans,
Bluetip,
The New Christs,
DeepChord presents Echospace,
Gastr Del Sol,
The Fortunes,
Junior Murvin,
Gil Scott Heron,
The Moody Blues,
Delon & Dalcan,
Alice Coltrane,
Pussy Galore,
Sonny Sharrock,
Barbara Tucker,
Kenny Larkin,
World's Most,
The Slackers,
Grandmaster Flash,
The Smoke,
Gong,
Colin Newman,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.