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 Gambia and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school Columbus 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 clarinet 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 AZ to the electroclash kids.
I played it at the Troubador.
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 China Crisis. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The United States of America,
Andrew Hill,
Bluetip,
The Mighty Diamonds,
Flash Fearless,
Warsaw,
Newcleus,
Underground Resistance,
Dark Day,
David Axelrod,
Bizarre Inc.,
Liaisons Dangereuses,
The Martian,
Amazonics,
Eric B and Rakim,
Oppenheimer Analysis,
Bad Manners,
The Jesus and Mary Chain,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dorothy Ashby,
Deakin,
Sound Behaviour,
Todd Rundgren,
Scott Walker,
DNA,
Public Image Ltd.,
A Certain Ratio,
Visage,
The Real Kids,
Khruangbin,
Soul Sonic Force,
Bootsy Collins,
Basic Channel,
Los Fastidios,
Radiohead,
Babytalk,
Liliput,
Wire,
Tubeway Army,
Sun Ra Arkestra,
Louis and Bebe Barron,
The Doobie Brothers,
Ice-T,
Pantaleimon,
The Victims,
The Mojo Men,
Average White Band,
Procol Harum,
The Detroit Cobras,
the Slits,
Clear Light,
Joy Division,
Zapp,
Blancmange,
JFA,
Au Pairs,
Funkadelic,
Piero Umiliani,
The Selecter,
Fluxion,
Pantytec, Pantytec, Pantytec, Pantytec.
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.