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 El Salvador and from Portland.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Echospace to the funk 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 Camberwell Now. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal dance 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 a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Misunderstood,
Motorama,
Ten City,
James Chance & The Contortions,
Carl Craig,
Andrew Ashong & Theo Parrish,
Rosa Yemen,
R.M.O.,
Gastr Del Sol,
Selector Dub Narcotic,
Sad Lovers and Giants,
Bad Manners,
Al Stewart,
Little Man,
Hardrive,
Drive Like Jehu,
Mad Mike,
Todd Terry,
Vladislav Delay,
Louis and Bebe Barron,
Ultramagnetic MC's,
Faust,
These Immortal Souls,
Urselle,
Crispian St. Peters,
cv313,
Yellowson,
Dual Sessions,
Gong,
Leonard Cohen,
Eve St. Jones,
The Victims,
JFA,
Livin' Joy,
Bizarre Inc.,
The Shadows of Knight,
Qualms,
The Flesh Eaters,
Electric Prunes,
Jesper Dahlback,
Youth Brigade,
Gang of Four,
The Fall,
Model 500,
Roger Hodgson,
Parry Music,
Schoolly D,
The Beau Brummels,
Ohio Players,
The Skatalites,
Khruangbin,
48th St. Collective,
Terry Callier,
Peter Gordon & Love of Life Orchestra,
Accadde A,
CMW,
Andrew Hill,
Amon Düül,
Bobby Hutcherson,
The New Christs,
Cal Tjader,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.