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 China and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Manila 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 mellotron 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 Throbbing Gristle to the dance 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 Alphaville. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Barclay James Harvest 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Ten City,
Harpers Bizarre,
Mission of Burma,
The Young Rascals,
Alphaville,
Saccharine Trust,
Johnny Osbourne,
Albert Ayler,
John Coltrane,
Barbara Tucker,
Deakin,
The Index,
Michelle Simonal,
Eli Mardock,
Royal Trux,
London Community Gospel Choir,
Cecil Taylor,
Gil Scott-Heron and Jamie xx,
Ituana,
Stiv Bators,
The Neon Judgement,
Brass Construction,
E-Dancer,
Max Romeo,
Avey Tare,
Public Enemy,
Sun Ra Arkestra,
Joe Smooth,
Angry Samoans,
DJ Sneak,
KRS-One,
Buzzcocks,
The Birthday Party,
Minnie Riperton,
Captain Beefheart & His Magic Band,
The J.B.'s,
Don Cherry,
The New Christs,
Jerry Gold Smith,
New Order,
Fela Kuti,
Orchestral Manoeuvres in the Dark,
Lou Christie,
Cybotron,
Fugazi,
Soul II Soul,
Warsaw,
Brick,
Public Image Ltd.,
Richard Hell and the Voidoids,
Neil Young & Crazy Horse,
Susan Cadogan,
Funky Four + One,
Jawbox,
Aloha Tigers,
Bobby Womack,
Colin Newman,
Isaac Hayes,
Stockholm Monsters,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.