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 Serbia and from Sao Paulo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Milan 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 sitar 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 Eli Mardock to the jazz kids.
I played it at the Troubador.
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 Anthony Braxton. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Sight & Sound,
Gil Scott Heron,
The Moleskins,
Chris Corsano,
Eyeless In Gaza,
Gian Franco Pienzio,
Michelle Simonal,
Alison Limerick,
Roxy Music,
Spoonie Gee,
Blancmange,
The Men They Couldn't Hang,
The Velvet Underground,
Eric Copeland,
Saccharine Trust,
Gang Green,
Anakelly,
Japan,
Josef K,
The Modern Lovers,
The New Christs,
Derrick May,
Thee Headcoats,
Youth Brigade,
John Cale,
Scan 7,
Harmonia,
Ajijia Myrayebe,
Sun Ra,
The Walker Brothers,
FM Einheit,
The Fire Engines,
The Gun Club,
Ornette Coleman,
Pierre Henry,
Roy Ayers,
Siouxsie and the Banshees,
The Sound,
Jacques Brel,
Mark Hollis,
Supertramp,
Porter Ricks,
Radiopuhelimet,
Robert Görl,
Visage,
Gong,
The Skatalites,
The Fugs,
the Sonics,
The Shadows of Knight,
The Durutti Column,
Dawn Penn,
Scott Walker,
Scientists,
Howard Jones,
Kool Moe Dee,
Los Fastidios,
Althea and Donna,
Art Ensemble Of Chicago,
Public Image Ltd.,
Bauhaus,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.