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 Ivory Coast and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1971.
I'm losing my edge.
To all the kids in New York and Seoul.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 Minutemen to the techno 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 Robert Wyatt. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every The Zeros 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Joey Negro,
Anthony Braxton,
Soft Machine,
Ludus,
Andrew Ashong & Theo Parrish,
Lee Hazlewood,
Donny Hathaway,
Grandmaster Flash and the Furious Five,
A Flock of Seagulls,
Little Man,
Louis and Bebe Barron,
Country Joe & The Fish,
Stockholm Monsters,
Tres Demented,
Kool G Rap & DJ Polo,
Ten City,
New Age Steppers,
Lizzy Mercier Descloux,
Jacob Miller,
Masters at Work,
Gichy Dan,
Derrick Morgan,
Junior Murvin,
Delon & Dalcan,
Gil Scott-Heron & Brian Jackson,
Bobby Womack,
Arab on Radar,
Urselle,
Fat Boys,
Danielle Patucci,
Monks,
Pagans,
a-ha,
Banda Bassotti,
Cymande,
Easy Going,
Mary Jane Girls,
Maurizio,
Mandrill,
KRS-One,
Pere Ubu,
Eve St. Jones,
The Smiths,
Gang Gang Dance,
Gary Puckett & The Union Gap,
Moby Grape,
The Barracudas,
Circle Jerks,
It's A Beautiful Day,
The Gun Club,
Adolescents,
One Last Wish,
Eddi Front,
Spandau Ballet,
The Men They Couldn't Hang,
Lucky Dragons,
The Alarm Clocks,
R.M.O.,
Suicide,
Scott Walker + Sunn O))),
Aural Exciters,
Smog,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.