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 Paraguay and from Mexico City.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Manila 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ 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 New York Dolls to the punk kids.
I played it at Cafe Wha.
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 Buzzcocks. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Stetsasonic,
Talk Talk,
Massinfluence,
Bang on a Can All-Stars,
Quantec,
Terry Callier,
E-Dancer,
Liliput,
Vaughan Mason & Crew,
Dark Day,
U.S. Maple,
Vainqueur,
The Trojans,
Jimmy McGriff,
The Detroit Cobras,
Pantaleimon,
Suburban Knight,
Sun Ra Arkestra,
Carl Craig,
Kenny Larkin,
Ash Ra Tempel,
Dual Sessions,
Jesper Dahlback,
Hasil Adkins,
Oneida,
The Doobie Brothers,
Tommy Roe,
Hashim,
Faraquet,
Camouflage,
Public Image Ltd.,
Kaleidoscope,
Pharaoh Sanders and the Fire Engines,
The Mojo Men,
Jawbox,
The Raincoats,
The Neon Judgement,
Urselle,
Neil Young & Crazy Horse,
The Peanut Butter Conspiracy,
Deepchord,
a-ha,
The Shadows of Knight,
Bauhaus,
Jerry Gold Smith,
Red Lorry Yellow Lorry,
Circle Jerks,
Anthony Braxton,
Grey Daturas,
Ken Boothe,
Tom Boy,
Kango’s Stein Massive,
The Offenders,
Main Source,
Ultra Naté,
Sexual Harrassment,
X-Ray Spex,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
Aural Exciters,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.