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 Vietnam and from Halifax.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Lagos 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 Sarah Menescal to the grunge kids.
I played it at Cafe Wha.
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 Soul Sonic Force. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
The Moody Blues,
Dual Sessions,
Reuben Wilson,
Bush Tetras,
Lou Christie,
Scott Walker,
Barbara Tucker,
Newcleus,
Mo-Dettes,
The New Christs,
Laurel Aitken,
Peter Gordon & Love of Life Orchestra,
D'Angelo,
Livin' Joy,
T. Rex,
Boz Scaggs,
Tropical Tobacco,
Captain Beefheart & His Magic Band,
Aswad,
AZ,
Mars,
Lightning Bolt,
Be Bop Deluxe,
The Gories,
Fifty Foot Hose,
Matthew Bourne,
Jeff Mills,
Dorothy Ashby,
U.S. Maple,
Darondo,
Minutemen,
The Gap Band,
Echospace,
Dead Boys,
Lizzy Mercier Descloux,
Liliput,
Joe Finger,
Nick Fraelich,
The Cure,
Black Pus,
the Slits,
Severed Heads,
Negative Approach,
Siouxsie and the Banshees,
The Men They Couldn't Hang,
Roy Ayers Ubiquity,
Pylon,
Gong,
Audionom,
KRS-One,
Zero Boys,
Vaughan Mason & Crew,
Mary Jane Girls,
Lou Reed & John Cale,
T.S.O.L.,
Godley & Creme,
Kool G Rap & DJ Polo,
Jerry's Kids,
The Kinks,
Dr. Dre and Snoop Doggy Dog,
Glenn Branca,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.