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 New Zealand and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Columbus 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 sitar sounds with much patience.
I was there when David Bowie 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 Liliput to the funk 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 Kango’s Stein Massive. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Sex Pistols,
DJ Sneak,
Andrew Hill,
Theoretical Girls,
Jacques Brel,
Jawbox,
Crash Course in Science,
Fear,
Kauko Röyhkä ja Narttu,
Half Japanese,
Blake Baxter,
Shoche,
Radiopuhelimet,
Ludus,
Inner City,
Sight & Sound,
Animal Collective,
Rod Modell,
DeepChord presents Echospace,
Gichy Dan,
Laurel Aitken,
ABC,
The Velvet Underground,
Richard Hell and the Voidoids,
The Residents,
Saccharine Trust,
Gil Scott-Heron & Brian Jackson,
Can,
Ornette Coleman,
Neu!,
Mantronix,
New Age Steppers,
The Slits,
The Star Department,
Stiv Bators,
Lizzy Mercier Descloux,
Agent Orange,
London Community Gospel Choir,
Minutemen,
UT,
Fat Boys,
Main Source,
Rites of Spring,
Dorothy Ashby,
Harry Pussy,
Royal Trux,
Scott Walker,
Blossom Toes,
The Flesh Eaters,
Roy Ayers,
Soul II Soul,
E-Dancer,
Judy Mowatt,
Cecil Taylor,
The Fuzztones,
The Divine Comedy,
Arthur Verocai,
Heaven 17,
Grauzone,
The Five Americans,
Barry Ungar,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.