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 Eritrea and from Edmonton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Manchester 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 guitar sounds with much patience.
I was there when Lou Reed 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 Kerri Chandler to the dance kids.
I played it at Trash.
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 Severed Heads. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Röyhkä ja Rättö ja Lehtisalo,
John Cale,
Audionom,
Art Ensemble Of Chicago,
Lou Reed & John Cale,
Pharaoh Sanders and the Fire Engines,
Fatback Band,
LL Cool J,
Rotary Connection,
Magazine,
Kool Moe Dee,
Terror Squad Feat. Camron,
The J.B.'s,
Essential Logic,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
Q65,
Robert Hood,
8 Eyed Spy,
Rapeman,
UT,
Fear,
ABC,
London Community Gospel Choir,
Mr. Review,
Echo & the Bunnymen,
MC5,
The Golliwogs,
The Barracudas,
Skriet,
Lou Reed,
The Vogues,
Sun Ra,
The Angels of Light,
Index,
Hot Snakes,
Lou Reed & Metallica,
Minutemen,
Pharoah Sanders,
Eddi Front,
Moss Icon,
Man Eating Sloth,
Sun Ra Arkestra,
Suicide,
Johnny Clarke,
Sällskapet,
Howard Jones,
Reuben Wilson,
The Skatalites,
The Cowsills,
Tropical Tobacco,
Monolake,
Aaron Thompson,
Flipper,
Traffic Nightmare,
Country Teasers,
Scott Walker,
Grandmaster Flash and the Furious Five,
Oneida,
The Motions,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.