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 Taiwan and from Paris.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 Man Eating Sloth to the techno 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 Section 25. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
T.S.O.L.,
Nick Cave & The Bad Seeds,
A Certain Ratio,
Boogie Down Productions,
Desert Stars,
Section 25,
Delon & Dalcan,
Sun City Girls,
E-Dancer,
Pussy Galore,
Alton Ellis,
The Monks,
Tubeway Army,
June of 44,
Rufus Thomas,
The Trojans,
Gerry Rafferty,
Flamin' Groovies,
Bang On A Can,
The Blues Magoos,
The Names,
Interpol,
Cheater Slicks,
Rotary Connection,
Eric Copeland,
Neu!,
cv313,
Marmalade,
Bobby Womack,
Wally Richardson,
Lou Reed & Metallica,
Dead Boys,
The Birthday Party,
Black Pus,
Ossler,
Yusef Lateef,
Ultravox,
Henry Cow,
The Motions,
Mantronix,
Roxette,
Jerry Gold Smith,
Jerry's Kids,
In Retrospect,
Scott Walker,
The Happenings,
Skarface,
Ten City,
June Days,
Nation of Ulysses,
Excepter,
David Axelrod,
Lee Hazlewood,
The Tremeloes,
Todd Rundgren,
Glenn Branca,
the Association,
MC5,
Black Moon,
Fela Kuti,
The West Coast Pop Art Experimental Band,
Kings Of Tomorrow,
Thompson Twins,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.