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 Laos and from Manchester.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Wire to the crunk 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 Electric Light Orchestra. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Eric Copeland 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
the Germs,
the Slits,
Eurythmics,
Richard Hell and the Voidoids,
Mad Mike,
The Names,
Graham Central Station,
Tom Boy,
Boz Scaggs,
Babytalk,
Second Layer,
Bang On A Can,
Notorious BIG live in Amsterdam,
Echospace,
Sight & Sound,
Echo & the Bunnymen,
Art Ensemble Of Chicago,
Leonard Cohen,
Make Up,
X-101,
Index,
Skarface,
Man Parrish,
The Tremeloes,
The Move,
Depeche Mode,
UT,
Organ,
Tears for Fears,
Fat Boys,
K-Klass,
Brick,
Dawn Penn,
The Saints,
Sound Behaviour,
Kaleidoscope,
Black Bananas,
The Mummies,
Metal Thangz,
Kauko Röyhkä ja Narttu,
Kango’s Stein Massive,
H. Thieme,
Jandek,
Joe Finger,
Rotary Connection,
The Beau Brummels,
Marcia Griffiths,
Suicide,
China Crisis,
Eden Ahbez,
The Human League,
Bill Wells,
The Young Rascals,
Jeff Mills,
Pulsallama,
Lindisfarne,
Hoover,
The Real Kids,
Qualms,
Rufus Thomas,
The Black Dice,
The Sound, The Sound, The Sound, The Sound.
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.