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 Malaysia and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Tehran 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron 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 Aswad to the grime kids.
I played it at Cafe Wha.
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 Robert Wyatt. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Patti Smith 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Delta 5,
Scion,
The Star Department,
Vainqueur,
Iggy Pop,
Hardrive,
Ajijia Myrayebe,
R.M.O.,
Althea and Donna,
Siouxsie and the Banshees,
Ultravox,
Reagan Youth,
The Leaves,
Gabor Szabo,
Lalann,
The Mummies,
The Pretty Things,
Yellowson,
The Move,
Depeche Mode,
The Raincoats,
AZ,
Vladislav Delay,
The Buckinghams,
David Bowie,
Roy Ayers Ubiquity,
David Axelrod,
Gichy Dan,
Stiv Bators,
Unwound,
The United States of America,
Black Flag,
Rapeman,
The Gun Club,
Porter Ricks,
Motorama,
Röyhkä ja Rättö ja Lehtisalo,
Negative Approach,
Leonard Cohen,
Kas Product,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
The Golliwogs,
Mr. Review,
Underground Resistance,
Sonny Sharrock,
Chrome,
Pete Rock & C.L. Smooth,
Nik Kershaw,
Lou Christie,
Sight & Sound,
The Seeds,
Eden Ahbez,
Dorothy Ashby,
Larry & the Blue Notes,
Alison Limerick,
Yaz, Yaz, Yaz, Yaz.
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.