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 Hungary and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Spokane 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 808 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 Albert Ayler to the grime kids.
I played it at the 40 Watt.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Livin' Joy 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
Crispy Ambulance,
Ossler,
Dual Sessions,
Man Eating Sloth,
John Holt,
The Wake,
Howard Jones,
Mark Hollis,
Oppenheimer Analysis,
Rufus Thomas,
Traffic Nightmare,
Bobby Womack,
Eve St. Jones,
Lalo Schifrin,
Jeff Lynne,
The Shadows of Knight,
Lakeside,
Notorious BIG live in Amsterdam,
Barbara Tucker,
Eric Dolphy,
Camouflage,
Flash Fearless,
Silicon Teens,
Mo-Dettes,
Anakelly,
Marc Romboy vs. Booka Shade,
The Buckinghams,
Darondo,
Severed Heads,
Fear,
Siglo XX,
Q65,
Grey Daturas,
The Sisters of Mercy,
Heaven 17,
Rapeman,
The Royal Family And The Poor,
Cal Tjader,
Derrick May,
Clear Light,
Cluster,
The Mummies,
Joe Finger,
Bob Dylan,
Sam Rivers,
Lou Reed & Metallica,
Infiniti,
Throbbing Gristle,
Barry Ungar,
Terror Squad Feat. Camron,
The Moleskins,
Cameo,
Glambeats Corp.,
The Motions,
Gregory Isaacs,
Accadde A,
Sun Ra Arkestra,
Alton Ellis,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.