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 Burkina and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manchester and Toronto.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Cecil Taylor to the electroclash 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 T. Rex. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Babytalk,
Inner City,
The Tremeloes,
Godley & Creme,
Silicon Teens,
James White and The Blacks,
Matthew Halsall,
Nik Kershaw,
Jimmy McGriff,
Symarip,
Altered Images,
Japan,
Tommy Roe,
Das Ding,
Josef K,
Frankie Knuckles,
Big Daddy Kane,
Howard Jones,
Nico,
Laurel Aitken,
Intrusion,
Michelle Simonal,
Jesper Dahlbäck,
Funkadelic,
The American Breed,
Cecil Taylor,
Scan 7,
Lakeside,
The Chocolate Watch Band,
The Monks,
Agitation Free,
Gang of Four,
The Dead C,
Monolake,
Massinfluence,
Roxette,
Echo & the Bunnymen,
Gastr Del Sol,
June of 44,
Amazonics,
Danielle Patucci,
Rowland S Howard / Lydia Lunch,
Leonard Cohen,
the Sonics,
Gang Starr,
Country Joe & The Fish,
Scrapy,
Sarah Menescal,
Loose Ends,
Al Stewart,
Moebius,
Eurythmics,
Wighnomy Brothers & Robag Wruhme,
Mandrill,
Royal Trux,
Kerri Chandler,
Boredoms,
Minny Pops,
Bobby Womack,
Blake Baxter,
The Sonics, The Sonics, The Sonics, The Sonics.
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.