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 Singapore and from Portland.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
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 snare sounds with much patience.
I was there when Nile Rodgers 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 Dorothy Ashby to the crunk kids.
I played it at the Crocodile.
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 The Evens. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz 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 a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Bang On A Can,
Al Stewart,
the Slits,
Josef K,
The Sonics,
Andrew Ashong & Theo Parrish,
Mr. Review,
New York Dolls,
The Index,
Aaron Thompson,
Eric Dolphy,
Television,
Bootsy Collins,
In Retrospect,
Arab on Radar,
H. Thieme,
Procol Harum,
Throbbing Gristle,
Rod Modell,
Infiniti,
Electric Light Orchestra,
Nation of Ulysses,
The Wake,
Matthew Halsall,
Juan Atkins,
Joe Smooth,
Jeru the Damaja,
Teenage Jesus and the Jerks,
F. McDonald,
Henry Cow,
Crime,
Letta Mbulu,
Lou Reed & John Cale,
Tropical Tobacco,
The Remains,
Lou Reed,
Soft Cell,
Lou Reed & Metallica,
Notorious Big And Bone Thugs,
Peter & Gordon,
Fela Kuti,
DNA,
Moby Grape,
Eric Copeland,
The Black Dice,
Major Organ And The Adding Machine,
Mad Mike,
Average White Band,
The Birthday Party,
Funkadelic,
Graham Central Station,
Black Flag,
The Mummies,
Metal Thangz,
Make Up,
Red Lorry Yellow Lorry,
the Association,
ABBA,
Eden Ahbez,
Whodini,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. 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.