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 Norway and from Calgary.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school London 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 marimba 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 The Vogues to the electroclash kids.
I played it at Trash.
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 Wire. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Mandrill,
The Busters,
Absolute Body Control,
Deepchord,
KRS-One,
The Sisters of Mercy,
The Dead C,
Thinking Fellers Union Local 282,
Matthew Bourne,
The Residents,
Y Pants,
Liliput,
the Swans,
Funkadelic,
Roxette,
Nils Olav,
Camron Feat. Memphis Bleek And Beenie Seigel,
Juan Atkins,
Vladislav Delay,
Rowland S Howard / Lydia Lunch,
Manfred Mann's Earth Band,
Lyres,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
Gian Franco Pienzio,
The Detroit Cobras,
The Evens,
Letta Mbulu,
Kenny Larkin,
Grey Daturas,
Easy Going,
The Cramps,
Skarface,
Ash Ra Tempel,
The Sound,
The Electric Prunes,
Bootsy's Rubber Band,
Ralphi Rosario,
Shoche,
Howard Jones,
De La Soul & Jungle Brothers,
Wally Richardson,
Khruangbin,
James White and The Blacks,
Mad Mike,
The Black Dice,
Harmonia,
The Moody Blues,
Monks,
Cheater Slicks,
Gabor Szabo,
The Gun Club,
Morten Harket,
Johnny Clarke,
Kas Product,
Q and Not U,
Suicide,
Clear Light,
Icehouse,
the Soft Cell,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.