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 Serbia and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Calgary.
I'm losing my edge to the art-school Seoul 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Franke to the disco 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 Scratch Acid. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
China Crisis,
Bronski Beat,
Subhumans,
Young Marble Giants,
Marc Almond,
Cybotron,
Neu!,
Hardrive,
Agent Orange,
The Toasters,
Skarface,
Yazoo,
Slick Rick,
Sun Ra,
The Victims,
Gil Scott-Heron and Jamie xx,
Country Joe & The Fish,
The Doobie Brothers,
Lungfish,
Graham Central Station,
The Chocolate Watch Band,
Gang of Four,
Gang Starr,
The Names,
Sad Lovers and Giants,
Electric Light Orchestra,
Ultravox,
Little Man,
The Jesus and Mary Chain,
EPMD,
Qualms,
The Young Rascals,
The Dead C,
Lou Reed,
The Music Machine,
Fear,
The Techniques,
Carl Craig,
New York Dolls,
The Move,
Jacob Miller,
Kerrie Biddell,
Scan 7,
Stiv Bators,
Heavy D & The Boyz,
Rotary Connection,
Jawbox,
Moby Grape,
Depeche Mode,
Magazine,
Urselle,
Mars,
The West Coast Pop Art Experimental Band,
Lebanon Hanover,
Inner City,
The Detroit Cobras,
Faust,
The Doors,
Red Lorry Yellow Lorry,
Skriet, Skriet, Skriet, Skriet.
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.