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 Guatemala and from Glasgow.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Swell Maps to the jazz kids.
I played it at the Roxy.
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 Con Funk Shun. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Sound Behaviour,
John Holt,
Frankie Knuckles,
Lungfish,
Kool Moe Dee,
Deakin,
Scan 7,
Faust,
Bush Tetras,
The Fortunes,
Super Lover Cee & Casanova Rud,
Sister Nancy,
Flash Fearless,
Qualms,
The Searchers,
The Neon Judgement,
Carl Craig,
Ponytail,
Rotary Connection,
Dual Sessions,
Brand Nubian,
ABBA,
Don Cherry,
Matthew Halsall,
Sällskapet,
Gong,
Avey Tare's Slasher Flicks,
Pagans,
Subhumans,
Clear Light,
Pharoah Sanders,
Cymande,
Television Personalities,
10cc,
Infiniti,
Eric Copeland,
Moebius,
Derrick Morgan,
Inner City,
The Associates,
Henry Cow,
Brass Construction,
Mary Jane Girls,
Archie Shepp,
DJ Sneak,
Alphaville,
Loose Ends,
Blancmange,
The Standells,
Procol Harum,
Toni Rubio,
the Normal,
Marc Almond,
Excepter,
Wire,
David Axelrod,
Lou Reed & Metallica,
Anakelly,
PIL,
Thee Headcoats,
Roger Hodgson,
The Pretty Things,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.