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 Canada and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Manila and Woodstock.
I'm losing my edge to the art-school Mexico City 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Skaos to the disco kids.
I played it at CBGB's.
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 Matthew Halsall. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Big Daddy Kane,
Man Parrish,
Art Ensemble Of Chicago,
Harpers Bizarre,
Nas,
Agent Orange,
Davy DMX,
The Black Dice,
The Saints,
Bobby Byrd,
Harry Pussy,
Steve Hackett,
The Gladiators,
Susan Cadogan,
Parry Music,
Jandek,
The Searchers,
a-ha,
Johnny Osbourne,
Tres Demented,
X-101,
Aswad,
James Chance & The Contortions,
June Days,
Colin Newman,
Echo & the Bunnymen,
Scan 7,
David Axelrod,
Malaria!,
EPMD,
The Count Five,
X-Ray Spex,
Black Bananas,
Bad Manners,
Guru Guru,
Captain Beefheart & His Magic Band,
Albert Ayler,
Sight & Sound,
Desert Stars,
Black Sheep,
Alphaville,
Swans,
Brass Construction,
Alison Limerick,
Terrestrial Tones,
Organ,
Deakin,
Liaisons Dangereuses,
Harmonia,
Crispian St. Peters,
The Alarm Clocks,
Drive Like Jehu,
Justin Hinds & The Dominoes,
Boogie Down Productions,
Ludus,
Country Teasers,
Marine Girls,
Rhythim Is Rhythim,
Aural Exciters,
Orchestral Manoeuvres in the Dark,
Lyres,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.