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 Poland and from Tokyo.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 Sarah Menescal to the jazz kids.
I played it at the Spitz.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
The Dead C,
The Durutti Column,
Black Moon,
The Music Machine,
New Order,
Scan 7,
Flipper,
Whodini,
David Axelrod,
Gang of Four,
Colin Newman,
Max Romeo,
Arthur Verocai,
Eric Dolphy,
John Coltrane,
Henry Cow,
Brass Construction,
Japan,
Mantronix,
Half Japanese,
Pierre Henry,
Animal Collective,
De La Soul & Jungle Brothers,
Maleditus Sound,
Ash Ra Tempel,
Sonny Sharrock,
The Cowsills,
Talk Talk,
Lou Christie,
The Men They Couldn't Hang,
Accadde A,
Vladislav Delay,
MC5,
Trumans Water,
Scion,
Swans,
Tomorrow,
Ultramagnetic MC's,
The Royal Family And The Poor,
Frankie Knuckles,
Kayak,
Kas Product,
Darondo,
Jeff Mills,
The Smiths,
Gong,
Letta Mbulu,
Notorious BIG live in Amsterdam,
Godley & Creme,
Avey Tare's Slasher Flicks,
Spoonie Gee,
Can,
Warsaw,
Beasts of Bourbon,
DJ Sneak,
Gang Gang Dance,
The Mighty Diamonds,
Nation of Ulysses,
Goldenarms,
Neil Young,
The Selecter,
Pet Shop Boys,
Altered Images,
Boredoms, Boredoms, Boredoms, Boredoms.
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.