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 Grenada and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Halifax 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 snare 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 Mark Hollis to the funk 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 Wire. All the underground hits.
All Amon Düül II 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Lonnie Liston Smith,
Fifty Foot Hose,
Bizarre Inc.,
Country Teasers,
T. Rex,
Zapp,
Gary Puckett & The Union Gap,
Silicon Teens,
The Star Department,
Smog,
Rhythm & Sound,
Roger Hodgson,
Skarface,
Nico,
Monolake,
Echo & the Bunnymen,
Girls At Our Best!,
a-ha,
U.S. Maple,
Bobby Sherman,
the Germs,
Siglo XX,
John Lydon,
Subhumans,
Ornette Coleman,
The Smoke,
Major Organ And The Adding Machine,
The Beau Brummels,
Minor Threat,
The Evens,
The Mighty Diamonds,
JFA,
Spandau Ballet,
AZ,
Vaughan Mason & Crew,
Letta Mbulu,
The Dead C,
Scrapy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Curtis Mayfield,
The Kinks,
Brass Construction,
Grandmaster Flash,
Jacques Brel,
Black Pus,
Yazoo,
Parry Music,
Whodini,
Mandrill,
Robert Hood,
Pulsallama,
Donald Byrd,
Theoretical Girls,
The Dave Clark Five,
Deakin,
Johnny Osbourne,
Sun City Girls,
The Misunderstood,
Section 25,
Thee Headcoats,
Angry Samoans,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.