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 Colombia and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Pete Rock & C.L. Smooth to the electroclash kids.
I played it at the Roxy.
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 Smoke. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Terrestrial Tones 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Country Joe & The Fish,
The Beau Brummels,
Henry Cow,
New York Dolls,
Animal Collective,
Crispy Ambulance,
Warsaw,
Lou Reed & Metallica,
Sunsets and Hearts,
John Holt,
Rotary Connection,
Massinfluence,
Joyce Sims,
Rosa Yemen,
Avey Tare's Slasher Flicks,
Tres Demented,
Deutsch Amerikanische Freundschaft,
The Modern Lovers,
Deakin,
Audionom,
Camberwell Now,
the Swans,
Iggy Pop,
Swell Maps,
Bobby Sherman,
Babytalk,
Parry Music,
Thee Headcoats,
Hashim,
Nik Kershaw,
Half Japanese,
The Martian,
Pylon,
Average White Band,
Sonny Sharrock,
Boz Scaggs,
X-101,
David McCallum,
Aural Exciters,
X-102,
Nation of Ulysses,
The Peanut Butter Conspiracy,
John Lydon,
The Knickerbockers,
Gang Green,
The Sonics,
Liliput,
Lee Hazlewood,
Dark Day,
Major Organ And The Adding Machine,
Gian Franco Pienzio,
The Music Machine,
Terrestrial Tones,
Ultravox,
Nirvana,
Richard Hell and the Voidoids,
Jeff Lynne,
Lakeside,
Ten City,
Mandrill,
Gabor Szabo,
Zero Boys,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.