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 Colombia and from Bologna.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Toronto and Paris.
I'm losing my edge to the art-school Beijing 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Throbbing Gristle to the crunk 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 Deakin. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Drexciya 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Sly & The Family Stone,
The Five Americans,
Nas,
Kas Product,
Heaven 17,
This Heat,
Delon & Dalcan,
Isaac Hayes,
The Tremeloes,
Fatback Band,
The Zeros,
Bootsy's Rubber Band,
Kayak,
Jawbox,
Echospace,
Selector Dub Narcotic,
Intrusion,
Kurtis Blow,
Moss Icon,
Gregory Isaacs,
Lou Reed & John Cale,
Throbbing Gristle,
Brand Nubian,
Parry Music,
Rekid,
10cc,
KRS-One,
Fad Gadget,
The Selecter,
H. Thieme,
Grandmaster Flash and the Furious Five,
Big Daddy Kane,
The Wake,
Traffic Nightmare,
Joensuu 1685,
Robert Görl,
Andrew Ashong & Theo Parrish,
Darondo,
Connie Case,
Underground Resistance,
Sparks,
Johnny Clarke,
Mission of Burma,
Can,
Lalo Schifrin,
Unwound,
The Index,
Supertramp,
Deepchord,
Sun City Girls,
Terrestrial Tones,
Roxette,
The Move,
Fela Kuti,
The Music Machine,
Fat Boys,
Fear,
the Sonics,
Toni Rubio,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.