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 Afghanistan and from Manila.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Portland 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Crime to the disco kids.
I played it at the Roxy.
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 Brothers Johnson. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Can 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?
Cecil Taylor,
Erasure,
Prince Buster,
Subhumans,
Malaria!,
Talk Talk,
Minor Threat,
Deadbeat,
Radiopuhelimet,
Visage,
Mark Hollis,
Max Romeo,
JFA,
Lafayette Afro Rock Band,
Peter & Gordon,
Harry Pussy,
The Neon Judgement,
Animal Collective,
Danielle Patucci,
Marc Romboy vs. Booka Shade,
Urselle,
Pantytec,
Magma,
Faraquet,
The Fugs,
Sex Pistols,
Lee Hazlewood,
Sun City Girls,
Ponytail,
Wire,
cv313,
Jawbox,
Adolescents,
Throbbing Gristle,
Iggy Pop,
a-ha,
Make Up,
Gabor Szabo,
Pole,
Half Japanese,
Sun Ra,
The Skatalites,
The Blackbyrds,
Nick Cave & The Bad Seeds,
Jacob Miller,
Avey Tare,
Cymande,
Rites of Spring,
Desert Stars,
John Foxx,
Blossom Toes,
The Electric Prunes,
Fatback Band,
L. Decosne,
The Velvet Underground,
The J.B.'s,
Toni Rubio,
Cluster,
DJ Sneak,
Joyce Sims,
Y Pants,
The Red Krayola,
Beasts of Bourbon,
KRS-One, KRS-One, KRS-One, KRS-One.
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.