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 Equatorial Guinea and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Beijing 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 Amon Düül to the techno kids.
I played it at the Hacienda.
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 Con Funk Shun. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Move,
Andrew Hill,
Louis and Bebe Barron,
Audionom,
The Angels of Light,
Franke,
Peter Gordon & Love of Life Orchestra,
Jeff Mills,
Henry Cow,
Roger Hodgson,
Gian Franco Pienzio,
The Velvet Underground,
Bobby Hutcherson,
Ornette Coleman,
Siglo XX,
Joensuu 1685,
Stockholm Monsters,
Joyce Sims,
The Mojo Men,
The Vogues,
Excepter,
Schoolly D,
DJ Style,
X-Ray Spex,
Matthew Bourne,
Aaron Thompson,
Lebanon Hanover,
James Chance & The Contortions,
Bad Manners,
Kool G Rap & DJ Polo,
Vladislav Delay,
Boogie Down Productions,
Heavy D & The Boyz,
The Count Five,
Gastr Del Sol,
Roxy Music,
Bush Tetras,
Dave Gahan,
Carl Craig,
L. Decosne,
Lee Hazlewood,
Larry & the Blue Notes,
Symarip,
Clear Light,
Whodini,
The Young Rascals,
Man Eating Sloth,
The Gap Band,
Siouxsie and the Banshees,
Godley & Creme,
Tommy Roe,
Marcia Griffiths,
Althea and Donna,
The Saints,
The Motions,
Thee Headcoats,
Barrington Levy,
the Sonics,
Massinfluence,
Eve St. Jones,
The Fall,
Davy DMX,
Harmonia,
Wally Richardson,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.