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 Argentina and from Edmonton.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Halifax 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Sonic Youth to the punk 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 Saccharine Trust. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The Happenings,
Funky Four + One,
Howard Jones,
B.T. Express,
Maleditus Sound,
Super Lover Cee & Casanova Rud,
Pylon,
Jesper Dahlback,
Mars,
Godley & Creme,
Guru Guru,
Siglo XX,
Gil Scott Heron,
Matthew Bourne,
the Association,
10cc,
Davy DMX,
Schoolly D,
X-101,
Johnny Clarke,
Rakim,
The Fortunes,
Porter Ricks,
Joensuu 1685,
La Düsseldorf,
The Neon Judgement,
Prince Buster,
the Human League,
Yaz,
The Sound,
Depeche Mode,
Bill Near,
Ituana,
Reuben Wilson,
Vainqueur,
Neil Young,
Bobby Womack,
Moby Grape,
Mo-Dettes,
Sun Ra Arkestra,
The J.B.'s,
Electric Prunes,
The Velvet Underground,
Maurizio,
Trumans Water,
The Durutti Column,
Steve Hackett,
James Chance & The Contortions,
AZ,
Rahsaan Roland Kirk,
Gang Gang Dance,
Deepchord,
Bootsy Collins,
Symarip,
Sun Ra,
Bauhaus,
Rites of Spring,
The Kinks,
Easy Going, Easy Going, Easy Going, Easy Going.
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.