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 Costa Rica and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Delhi and Calgary.
I'm losing my edge to the art-school New York 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Rahsaan Roland Kirk to the electroclash kids.
I played it at the Troubador.
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 Simply Red. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every The Blackbyrds record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Liliput,
Johnny Osbourne,
Don Cherry,
Gil Scott Heron,
Bronski Beat,
Derrick Morgan,
Dawn Penn,
Peter Gordon & Love of Life Orchestra,
Manfred Mann's Earth Band,
Sun Ra,
Joe Smooth,
Siglo XX,
Barry Ungar,
Wally Richardson,
Theoretical Girls,
The Blues Magoos,
Crispian St. Peters,
Radiopuhelimet,
Nico,
Donny Hathaway,
Rotary Connection,
Gong,
The Barracudas,
Alice Coltrane,
The Star Department,
The Last Poets,
The Grass Roots,
Loose Ends,
Banda Bassotti,
The United States of America,
Roxette,
Niagra,
Delta 5,
Cymande,
Silicon Teens,
48th St. Collective,
Slave,
Pete Rock & C.L. Smooth,
Accadde A,
Stereo Dub,
Monolake,
The Associates,
Cal Tjader,
Todd Terry,
Bizarre Inc.,
Chrome,
Fear,
Super Lover Cee & Casanova Rud,
Rowland S Howard / Lydia Lunch,
Colin Newman,
John Lydon,
Blake Baxter,
Spoonie Gee,
Mandrill,
Jesper Dahlbäck,
Y Pants,
Absolute Body Control,
Magma,
Marine Girls,
Sound Behaviour,
The Beau Brummels,
Rosa Yemen,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.