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 Iran and from Edmonton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Hong Kong 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar 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 The Gap Band to the techno kids.
I played it at the Astoria.
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 Star Department. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese 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?
Quadrant,
Gil Scott-Heron and Jamie xx,
Teenage Jesus and the Jerks,
Alison Limerick,
Joey Negro,
Darondo,
Skarface,
Young Marble Giants,
The Pretty Things,
Ken Boothe,
This Heat,
Marshall Jefferson,
Cecil Taylor,
H. Thieme,
the Normal,
Kevin Saunderson,
Subhumans,
Sound Behaviour,
Eve St. Jones,
Kayak,
K-Klass,
Drexciya,
Hashim,
Adolescents,
Barbara Tucker,
Fat Boys,
Brass Construction,
KRS-One,
Bobby Womack,
Symarip,
Public Enemy,
Delon & Dalcan,
Oppenheimer Analysis,
Boogie Down Productions,
Roy Ayers Ubiquity,
The Doors,
CMW,
Infiniti,
Alton Ellis,
Glambeats Corp.,
Heavy D & The Boyz,
Juan Atkins,
Joyce Sims,
Magazine,
The Dirtbombs,
Spoonie Gee,
Anthony Braxton,
The Men They Couldn't Hang,
Marc Almond,
In Retrospect,
Jesper Dahlback,
Inner City,
the Germs,
Animal Collective,
Outsiders,
Gabor Szabo,
Arab on Radar,
Reagan Youth,
Robert Görl,
Swell Maps,
Jandek,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.