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 Bulgaria and from Delhi.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Girls At Our Best! to the dance kids.
I played it at Trash.
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 John Holt. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 Monolake record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Jeff Mills,
The Victims,
De La Soul & Jungle Brothers,
Pussy Galore,
Jawbox,
Qualms,
Delon & Dalcan,
Ossler,
Jesper Dahlbäck,
Livin' Joy,
Newcleus,
Fugazi,
Richard Hell and the Voidoids,
Motorama,
The Fuzztones,
The Wake,
Neil Young & Crazy Horse,
Thinking Fellers Union Local 282,
Liaisons Dangereuses,
Popol Vuh,
Vladislav Delay,
Television,
MC5,
U.S. Maple,
Pantytec,
The Mighty Diamonds,
Sex Pistols,
Royal Trux,
Alison Limerick,
Rhythim Is Rhythim,
Howard Jones,
Darondo,
Little Man,
The Slackers,
Beasts of Bourbon,
Warsaw,
Glambeats Corp.,
Kurtis Blow,
Make Up,
Avey Tare,
The American Breed,
Monks,
Tom Boy,
Soul Sonic Force,
LL Cool J,
Soft Cell,
The Knickerbockers,
Vainqueur,
Byron Stingily,
Scratch Acid,
Brothers Johnson,
DNA,
Camouflage,
Schoolly D,
Model 500,
Bronski Beat,
Adolescents,
Kool G Rap & DJ Polo,
the Germs, the Germs, the Germs, the Germs.
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.