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 Austria and from Mumbai.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Houston 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 Mistral practice in a loft in Amsterdam.
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 Wolf Eyes to the funk kids.
I played it at the Astoria.
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 Siouxsie and the Banshees tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
The Evens,
Lizzy Mercier Descloux,
The Cure,
Sight & Sound,
The Pretty Things,
Joe Finger,
Glambeats Corp.,
Jandek,
Drexciya,
Negative Approach,
Terrestrial Tones,
Goldenarms,
The Toasters,
the Bar-Kays,
The Residents,
Rapeman,
The Gun Club,
Judy Mowatt,
Super Lover Cee & Casanova Rud,
Bluetip,
Sister Nancy,
The Invisible,
Kayak,
Blake Baxter,
Fela Kuti,
F. McDonald,
Bobby Byrd,
Chris & Cosey,
Skarface,
Flipper,
Pussy Galore,
Rufus Thomas,
Aural Exciters,
It's A Beautiful Day,
Stockholm Monsters,
Leonard Cohen,
Marmalade,
U.S. Maple,
Bootsy's Rubber Band,
Crash Course in Science,
June of 44,
Model 500,
The Velvet Underground,
John Holt,
Theoretical Girls,
Kool Moe Dee,
Eden Ahbez,
Minnie Riperton,
Kerrie Biddell,
The Raincoats,
Buzzcocks,
Harry Pussy,
The Peanut Butter Conspiracy,
Jesper Dahlbäck,
Hot Snakes,
Roger Hodgson,
Albert Ayler,
The Electric Prunes,
Grey Daturas,
Warsaw,
Siouxsie and the Banshees,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.