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 Korea South and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Cairo 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 Lou Reed 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 West Coast Pop Art Experimental Band to the rap kids.
I played it at the Astoria.
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 Easy Going. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Model 500,
Cabaret Voltaire,
Popol Vuh,
OOIOO,
Gil Scott Heron,
Girls At Our Best!,
Johnny Osbourne,
Drexciya,
Frankie Knuckles,
Blossom Toes,
Swans,
The Chocolate Watch Band,
Art Ensemble Of Chicago,
Von Mondo,
Mr. Review,
David McCallum,
10cc,
Make Up,
Dead Boys,
Heaven 17,
Vladislav Delay,
Bobby Hutcherson,
The Smiths,
Siouxsie and the Banshees,
The Martian,
Aural Exciters,
Angry Samoans,
Quantec,
Siglo XX,
This Heat,
Harry Pussy,
Livin' Joy,
Soulsonic Force,
Funkadelic,
Minor Threat,
Black Bananas,
Throbbing Gristle,
Soul Sonic Force,
Dawn Penn,
Eric Dolphy,
Maurizio,
Babytalk,
Magma,
Con Funk Shun,
The Victims,
Funky Four + One,
the Swans,
Gabor Szabo,
Skaos,
The Saints,
The Cure,
Gastr Del Sol,
Inner City,
Agent Orange,
Yaz,
T. Rex,
Sex Pistols,
James White and The Blacks,
Charles Mingus,
Unrelated Segments,
Chrome,
the Normal, the Normal, the Normal, the Normal.
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.