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 Chile and from Milan.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Hong Kong 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 Robert Palmer 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 Carl Craig to the rock kids.
I played it at the Spitz.
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 John Cale. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal techno 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 a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Eden Ahbez,
Art Ensemble Of Chicago,
The Sound,
Tom Boy,
Howard Jones,
Jerry Gold Smith,
Accadde A,
Colin Newman,
The Associates,
Monks,
Bizarre Inc.,
The Alarm Clocks,
Sparks,
Soft Cell,
Hoover,
Gerry Rafferty,
Bobby Hutcherson,
Robert Wyatt,
Rowland S Howard / Lydia Lunch,
Beasts of Bourbon,
The Cure,
Arab on Radar,
DeepChord presents Echospace,
Barclay James Harvest,
The Trojans,
De La Soul & Jungle Brothers,
The West Coast Pop Art Experimental Band,
Groovy Waters,
Grauzone,
Ronan,
Quando Quango,
Blake Baxter,
Symarip,
Skriet,
The Black Dice,
Scott Walker + Sunn O))),
Whodini,
Eli Mardock,
Simply Red,
Jeff Mills,
Warren Ellis,
Röyhkä ja Rättö ja Lehtisalo,
Lee Hazlewood,
Second Layer,
Major Organ And The Adding Machine,
A Flock of Seagulls,
Glenn Branca,
Parry Music,
Bobbi Humphrey,
Fluxion,
Michelle Simonal,
Drexciya,
Angels of Light & Akron/Family,
Man Eating Sloth,
Eyeless In Gaza,
Scrapy,
Yazoo,
David Axelrod,
Radiohead,
The Motions,
Joy Division,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.