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 Brunei and from Columbus.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Milan 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 theremin 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 Jesper Dahlbäck to the rap kids.
I played it at the Roxy.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Spoonie Gee,
Ultra Naté,
The Pop Group,
R.M.O.,
John Cale,
Organ,
Public Image Ltd.,
Intrusion,
Kool G Rap & DJ Polo,
Jeff Lynne,
Q65,
London Community Gospel Choir,
Robert Hood,
Boogie Down Productions,
Nirvana,
World's Most,
Slave,
Sun Ra,
Animal Collective,
Charles Mingus,
Rites of Spring,
Ponytail,
Sugar Minott,
Eric Dolphy,
Crispian St. Peters,
Los Fastidios,
Visage,
Bill Near,
Amon Düül II,
Mad Mike,
Barclay James Harvest,
B.T. Express,
Index,
Sparks,
ABBA,
Jeru the Damaja,
Barbara Tucker,
Crooked Eye,
Model 500,
Eli Mardock,
Skaos,
The Jesus and Mary Chain,
Thinking Fellers Union Local 282,
Gil Scott Heron,
Shoche,
Grauzone,
The Evens,
Graham Central Station,
Magma,
Monolake,
Roger Hodgson,
Black Moon,
Metal Thangz,
Y Pants,
Chris Corsano,
Nik Kershaw,
Oblivians,
The Saints,
Jawbox,
Traffic Nightmare,
Bizarre Inc.,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.