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 Denmark and from Portland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Bremen 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 808 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 Ornette Coleman to the punk kids.
I played it at Trash.
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 Kerrie Biddell. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Standells,
Young Marble Giants,
Gang Starr,
Bootsy's Rubber Band,
Amon Düül II,
The Smoke,
Wings,
Cheater Slicks,
Brand Nubian,
Maleditus Sound,
Oblivians,
The Residents,
Ultra Naté,
Duran Duran,
Idris Muhammad,
Half Japanese,
Peter and Kerry,
June of 44,
Big Daddy Kane,
The Litter,
Blake Baxter,
Toni Rubio,
The Birthday Party,
Camouflage,
Pantaleimon,
Eyeless In Gaza,
Matthew Halsall,
The Electric Prunes,
Supertramp,
UT,
Gang Green,
T. Rex,
Parry Music,
Altered Images,
Gary Puckett & The Union Gap,
This Heat,
Q and Not U,
The Neon Judgement,
The Offenders,
The Gun Club,
Kango’s Stein Massive,
F. McDonald,
Gang Gang Dance,
The Beau Brummels,
Bang on a Can All-Stars,
The Golliwogs,
Tim Buckley,
Johnny Clarke,
The Black Dice,
Panda Bear,
Heavy D & The Boyz,
DJ Sneak,
Swell Maps,
The Velvet Underground,
The Blackbyrds,
Audionom,
Jeru the Damaja,
Loose Ends,
Aloha Tigers,
Kerrie Biddell,
Television,
Eurythmics,
Cameo,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.