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 Tokyo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Avey Tare to the disco 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 Mary Jane Girls. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every The Busters 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 '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Make Up,
Nation of Ulysses,
Q65,
Chrome,
Royal Trux,
Los Fastidios,
Jesper Dahlbäck,
Liliput,
Sad Lovers and Giants,
Frankie Knuckles,
Camron Feat. Jay Z And Juelz,
Simply Red,
8 Eyed Spy,
Pylon,
Siouxsie and the Banshees,
Index,
Joensuu 1685,
Wire,
Gil Scott-Heron and Jamie xx,
Silicon Teens,
Blossom Toes,
Von Mondo,
The Saints,
Roy Ayers Ubiquity,
Parry Music,
Grauzone,
Suburban Knight,
Alton Ellis,
John Holt,
Lafayette Afro Rock Band,
Davy DMX,
Bill Wells,
Leonard Cohen,
Basic Channel,
Brothers Johnson,
The Divine Comedy,
Bad Manners,
The Vogues,
Kauko Röyhkä ja Narttu,
Icehouse,
Reagan Youth,
Mr. Review,
Isaac Hayes,
Nick Fraelich,
FM Einheit,
James Chance & The Contortions,
Teenage Jesus and the Jerks,
Alison Limerick,
Hashim,
Yellowson,
Urselle,
Vainqueur,
Johnny Osbourne,
The Motions,
The Black Dice,
DeepChord presents Echospace,
Yusef Lateef,
Jacques Brel,
Kenny Larkin,
Todd Rundgren,
Ornette Coleman,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.