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 Kiribati and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Barclay James Harvest to the rap kids.
I played it at CBGB's.
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 Grass Roots. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Shuggie Otis,
World's Most,
Minor Threat,
Chrome,
Siouxsie and the Banshees,
Louis and Bebe Barron,
Soul Sonic Force,
Animal Collective,
Albert Ayler,
Crispy Ambulance,
Sugar Minott,
The Offenders,
The Sisters of Mercy,
Theoretical Girls,
The Standells,
The Knickerbockers,
Peter and Kerry,
Half Japanese,
Grandmaster Flash and the Furious Five,
Outsiders,
Stereo Dub,
Aural Exciters,
Camouflage,
Aaron Thompson,
Gerry Rafferty,
Kool Moe Dee,
Avey Tare & Kría Brekkan,
Susan Cadogan,
Ralphi Rosario,
Dr. Dre and Snoop Doggy Dog,
Bang On A Can,
Cymande,
Symarip,
Skarface,
Black Bananas,
Nick Fraelich,
Mo-Dettes,
Jimmy McGriff,
Deadbeat,
The Move,
The Alarm Clocks,
Scratch Acid,
Steve Hackett,
Dorothy Ashby,
Todd Rundgren,
Matthew Halsall,
The Cosmic Jokers,
Supertramp,
The Gladiators,
Altered Images,
Von Mondo,
The Pretty Things,
La Düsseldorf,
Toni Rubio,
Rapeman,
A Certain Ratio,
This Heat,
Dave Gahan,
Rhythm & Sound,
Grey Daturas,
Television,
Nik Kershaw,
The Index, The Index, The Index, The Index.
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.