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 Ethiopia and from Mumbai.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school New York 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 The Evens to the jazz 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 Bush Tetras. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Eve St. Jones,
Louis and Bebe Barron,
Slave,
Thinking Fellers Union Local 282,
Loose Ends,
Harpers Bizarre,
The Men They Couldn't Hang,
Marine Girls,
Eden Ahbez,
Matthew Halsall,
Stetsasonic,
The Red Krayola,
Niagra,
Liliput,
The Kinks,
Dave Gahan,
These Immortal Souls,
The Angels of Light,
Hardrive,
The Fire Engines,
Idris Muhammad,
The Detroit Cobras,
Moss Icon,
Kool Moe Dee,
Nik Kershaw,
Bauhaus,
The Fall,
Sun City Girls,
Public Image Ltd.,
Average White Band,
Warren Ellis,
Technova,
Neil Young & Crazy Horse,
Kerri Chandler,
Hoover,
The Raincoats,
Curtis Mayfield,
Gong,
The West Coast Pop Art Experimental Band,
Josef K,
Derrick May,
Fad Gadget,
Dark Day,
E-Dancer,
Dennis Brown,
The Misunderstood,
London Community Gospel Choir,
Donny Hathaway,
Fifty Foot Hose,
8 Eyed Spy,
Robert Görl,
Lou Reed,
Donald Byrd,
Dead Boys,
Youth Brigade,
Fat Boys,
the Association,
Ituana,
Sad Lovers and Giants,
Cymande,
Beasts of Bourbon,
New York Dolls,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.