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 Oman and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Delhi 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 guitar 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 Velvet Underground to the punk 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 The Doors. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Oppenheimer Analysis,
The Shadows of Knight,
Dead Boys,
The Chocolate Watch Band,
New York Dolls,
Joe Finger,
Buzzcocks,
Joyce Sims,
The Peanut Butter Conspiracy,
Fear,
Shoche,
Youth Brigade,
Kango’s Stein Massive,
Boredoms,
Au Pairs,
The Pop Group,
Thompson Twins,
Chris Corsano,
Technova,
Slick Rick,
the Human League,
Idris Muhammad,
Mark Hollis,
Das Ding,
Terrestrial Tones,
the Sonics,
Joey Negro,
Excepter,
June of 44,
Depeche Mode,
Pierre Henry,
The Slits,
Deadbeat,
Frankie Knuckles,
Peter and Kerry,
Jesper Dahlbäck,
The Sonics,
Ten City,
Ohio Players,
Gerry Rafferty,
Pete Rock & C.L. Smooth,
Smog,
The Motions,
Junior Murvin,
Rahsaan Roland Kirk,
Country Teasers,
Dorothy Ashby,
John Lydon,
The Raincoats,
Juan Atkins,
Lou Reed & John Cale,
Glambeats Corp.,
Niagra,
Jeff Mills,
Jandek,
Sunsets and Hearts,
Radio Birdman,
Lou Christie,
Avey Tare,
Dark Day,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.