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 Bhutan and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 London and New York.
I'm losing my edge to the art-school Tehran 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 The Barracudas to the rap 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 Sixth Finger. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
The Jesus and Mary Chain,
Soft Machine,
Simply Red,
Neu!,
Mary Jane Girls,
Monolake,
Tommy Roe,
The Royal Family And The Poor,
Graham Central Station,
Index,
The Monks,
In Retrospect,
Brick,
Howard Jones,
Public Image Ltd.,
Swell Maps,
Porter Ricks,
The Offenders,
Pierre Henry,
Eli Mardock,
Absolute Body Control,
The West Coast Pop Art Experimental Band,
Little Man,
Crooked Eye,
Pharoah Sanders,
Funkadelic,
Peter & Gordon,
David McCallum,
Angels of Light & Akron/Family,
ABC,
Cymande,
Dave Gahan,
CMW,
L. Decosne,
Amazonics,
Cecil Taylor,
Fear,
The Seeds,
Anakelly,
Black Pus,
Excepter,
The Walker Brothers,
Unrelated Segments,
Nick Fraelich,
De La Soul & Jungle Brothers,
Brothers Johnson,
Mr. Review,
Siouxsie and the Banshees,
Bootsy's Rubber Band,
The New Christs,
Public Enemy,
Franke,
Faust,
Shuggie Otis,
Grey Daturas,
Minutemen,
Ronan,
Stereo Dub,
Rekid,
Smog, Smog, Smog, Smog.
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.