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 Switzerland and from Taipei.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Calgary 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator 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 Neil Young & Crazy Horse to the techno 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 John Cale. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Traffic Nightmare,
De La Soul & Jungle Brothers,
Kango’s Stein Massive,
Oppenheimer Analysis,
Beasts of Bourbon,
Aural Exciters,
Nas,
Porter Ricks,
Hardrive,
Shoche,
Vladislav Delay,
Gang Green,
Deepchord,
Rowland S Howard / Lydia Lunch,
Livin' Joy,
Deakin,
Piero Umiliani,
Rhythm & Sound,
Freddie Wadling,
Pete Rock & C.L. Smooth,
Simply Red,
Dawn Penn,
Graham Central Station,
the Fania All-Stars,
8 Eyed Spy,
kango's stein massive,
Josef K,
Camouflage,
The Detroit Cobras,
Barry Ungar,
F. McDonald,
Symarip,
Gichy Dan,
Eddi Front,
Negative Approach,
Moss Icon,
Ash Ra Tempel,
Bizarre Inc.,
Vaughan Mason & Crew,
The Beau Brummels,
Marmalade,
Surgeon,
Essential Logic,
Sällskapet,
Fugazi,
Moby Grape,
Kool G Rap & DJ Polo,
Amazonics,
Aloha Tigers,
Grey Daturas,
Mantronix,
Chris & Cosey,
Blancmange,
Sam Rivers,
Pussy Galore,
Deutsch Amerikanische Freundschaft,
Cluster,
Eric Copeland,
Crispian St. Peters,
Camberwell Now,
Big Daddy Kane,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.