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 Moldova and from Lille.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lyon and Halifax.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar 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 Donny Hathaway 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 Fugazi. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Pete Rock & C.L. Smooth,
Jeff Mills,
Fort Wilson Riot,
Sight & Sound,
Grauzone,
Eric Dolphy,
Yellowson,
Warren Ellis,
Pantaleimon,
David McCallum,
Albert Ayler,
Notorious Big And Bone Thugs,
Depeche Mode,
U.S. Maple,
Scrapy,
The Pop Group,
The Young Rascals,
Black Moon,
Aural Exciters,
John Lydon,
UT,
Soft Machine,
Fluxion,
Infiniti,
Röyhkä ja Rättö ja Lehtisalo,
Henry Cow,
Ludus,
Crooked Eye,
Jacob Miller,
Curtis Mayfield,
Kango’s Stein Massive,
Wighnomy Brothers & Robag Wruhme,
The Associates,
Lonnie Liston Smith,
The Velvet Underground,
The Victims,
Warsaw,
Lou Christie,
Television Personalities,
Skaos,
The Names,
Y Pants,
Soul II Soul,
Newcleus,
Idris Muhammad,
H. Thieme,
Pussy Galore,
Camron Feat. Memphis Bleek And Beenie Seigel,
R.M.O.,
The Music Machine,
Echospace,
Alice Coltrane,
Erasure,
Pulsallama,
Godley & Creme,
The Happenings,
Massinfluence,
The Flesh Eaters,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.