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 Mongolia and from Edmonton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 The Alarm Clocks to the electroclash kids.
I played it at the 40 Watt.
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 Hot Snakes. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Half Japanese 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Jeru the Damaja,
Moss Icon,
The United States of America,
Idris Muhammad,
Crispian St. Peters,
Shoche,
Super Lover Cee & Casanova Rud,
Deepchord,
James White and The Blacks,
Goldenarms,
Agitation Free,
Black Pus,
PIL,
Sandy B,
Lungfish,
The Barracudas,
Grey Daturas,
This Heat,
Yellowson,
Sun Ra,
Nik Kershaw,
Urselle,
Judy Mowatt,
Symarip,
Arthur Verocai,
Audionom,
Donald Byrd,
Sunsets and Hearts,
The Raincoats,
Television,
The Sound,
Ajijia Myrayebe,
Steve Hackett,
FM Einheit,
Rekid,
Underground Resistance,
Pulsallama,
Dark Day,
Bluetip,
John Holt,
Pagans,
Bush Tetras,
Joy Division,
Althea and Donna,
Eurythmics,
Beasts of Bourbon,
Oblivians,
Andrew Hill,
Avey Tare & Kría Brekkan,
Cabaret Voltaire,
Susan Cadogan,
Aural Exciters,
Ice-T,
Minny Pops,
The Index,
Japan,
The Smoke,
Dorothy Ashby,
Derrick May,
Ornette Coleman,
the Fania All-Stars,
Scientists, Scientists, Scientists, Scientists.
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.