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 Lebanon and from Salvador.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Taipei 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the marimba 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 Roxette to the rock 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 Harry Pussy. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Rapeman,
Circle Jerks,
Ludus,
Kings Of Tomorrow,
Terrestrial Tones,
The Dirtbombs,
The Vogues,
Sonic Youth,
The Moody Blues,
Kas Product,
Soft Machine,
Drive Like Jehu,
Loose Ends,
Jacques Brel,
World's Most,
DNA,
Blancmange,
Mission of Burma,
Bootsy Collins,
Jawbox,
Jeff Mills,
Television Personalities,
Lonnie Liston Smith,
Flamin' Groovies,
The Blues Magoos,
X-102,
June Days,
Inner City,
Maleditus Sound,
Gil Scott-Heron & Brian Jackson,
Black Flag,
Eric Copeland,
New Age Steppers,
Avey Tare,
48th St. Collective,
Banda Bassotti,
Theoretical Girls,
Lou Reed & John Cale,
Nik Kershaw,
Josef K,
Sun Ra Arkestra,
The Fuzztones,
Index,
Gang Gang Dance,
Absolute Body Control,
Pulsallama,
Mary Jane Girls,
Heavy D & The Boyz,
Mad Mike,
One Last Wish,
Swell Maps,
James White and The Blacks,
Moss Icon,
Minnie Riperton,
ABC,
Steve Hackett,
Pole,
Henry Cow,
Roxette,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.