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 Kyrgyzstan 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 1973.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Masters at Work to the funk 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 Outsiders. All the underground hits.
All Index tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
The Real Kids,
Underground Resistance,
Kurtis Blow,
Amon Düül II,
Gerry Rafferty,
Slave,
Spandau Ballet,
Heavy D & The Boyz,
Mantronix,
Niagra,
The Star Department,
Roy Ayers,
The Offenders,
Moebius,
The Victims,
Crispy Ambulance,
Stereo Dub,
Barrington Levy,
Kauko Röyhkä ja Narttu,
Rufus Thomas,
Josef K,
Mark Hollis,
The Stooges,
Vainqueur,
The Beau Brummels,
Lizzy Mercier Descloux,
Masters at Work,
The Index,
D'Angelo,
Lou Reed & Metallica,
Pharaoh Sanders and the Fire Engines,
Echospace,
Rotary Connection,
Sight & Sound,
Scratch Acid,
Harmonia,
Vladislav Delay,
The Litter,
MDC,
48th St. Collective,
Radio Birdman,
ABC,
Porter Ricks,
John Coltrane,
Faraquet,
Monks,
Swans,
Nik Kershaw,
The Pretty Things,
Country Teasers,
The Cowsills,
Deutsch Amerikanische Freundschaft,
Model 500,
Althea and Donna,
Black Bananas,
Andrew Hill,
Interpol,
Laurel Aitken,
Trumans Water,
Crime,
Gabor Szabo,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.