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 Sweden and from Johannesburg.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 T. Rex to the disco kids.
I played it at Trash.
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 Marc Almond. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Bill Wells,
The Grass Roots,
The Moleskins,
Intrusion,
Nirvana,
The Remains,
The Techniques,
Colin Newman,
Freddie Wadling,
X-101,
Agent Orange,
10cc,
Public Enemy,
The Fugs,
Excepter,
Ohio Players,
The Fall,
Orchestral Manoeuvres in the Dark,
Boz Scaggs,
Joyce Sims,
World's Most,
Swans,
Jerry's Kids,
Outsiders,
Michelle Simonal,
Todd Rundgren,
Jawbox,
MC5,
The Litter,
Terrestrial Tones,
John Foxx,
Tropical Tobacco,
Soul Sonic Force,
H. Thieme,
Cluster,
Lindisfarne,
The Martian,
Half Japanese,
The Offenders,
The J.B.'s,
The Fortunes,
Main Source,
This Heat,
Monks,
Manfred Mann's Earth Band,
Desert Stars,
Beasts of Bourbon,
Lungfish,
Chris & Cosey,
Stiv Bators,
Cecil Taylor,
Kas Product,
James Chance & The Contortions,
Shuggie Otis,
Scott Walker,
London Community Gospel Choir,
Jerry Gold Smith,
Los Fastidios,
Aaron Thompson,
EPMD,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.