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 Kenya and from Calgary.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manila and Woodstock.
I'm losing my edge to the art-school Salvador 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Magazine to the punk kids.
I played it at the 40 Watt.
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 Blake Baxter. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal electroclash 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 a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Lebanon Hanover,
Stockholm Monsters,
Yaz,
Jimmy McGriff,
Bootsy's Rubber Band,
Bauhaus,
Technova,
Pantaleimon,
The Misunderstood,
Pole,
Andrew Ashong & Theo Parrish,
Excepter,
Girls At Our Best!,
The Techniques,
A Flock of Seagulls,
Nils Olav,
Rapeman,
Marmalade,
Deakin,
Fluxion,
Peter and Kerry,
Kevin Saunderson,
Suicide,
The Happenings,
Barry Ungar,
The Five Americans,
AZ,
Jesper Dahlback,
Pagans,
Sister Nancy,
Ronnie Foster,
The Seeds,
The Gap Band,
Zero Boys,
Juan Atkins,
London Community Gospel Choir,
Los Fastidios,
These Immortal Souls,
Arcadia,
Sound Behaviour,
Vladislav Delay,
Johnny Osbourne,
DeepChord presents Echospace,
The Mummies,
Marshall Jefferson,
Sun City Girls,
Pharoah Sanders,
The Motions,
Grey Daturas,
Inner City,
Anakelly,
Gregory Isaacs,
the Fania All-Stars,
Ponytail,
Quando Quango,
The United States of America,
Ohio Players,
The Dirtbombs,
Warsaw,
The Red Krayola,
Gary Puckett & The Union Gap,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.