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 India and from Madrid.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Tehran.
I'm losing my edge to the art-school Manchester 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 theremin 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 the Bar-Kays to the rap 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 Fuzztones. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
The Techniques,
CMW,
Röyhkä ja Rättö ja Lehtisalo,
Sun City Girls,
The Doobie Brothers,
Throbbing Gristle,
the Bar-Kays,
The Star Department,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Althea and Donna,
Sparks,
The Associates,
The Leaves,
Scrapy,
Excepter,
Silicon Teens,
Brick,
Monks,
The Smoke,
Skriet,
Nas,
L. Decosne,
Heaven 17,
10cc,
Pharoah Sanders,
Sällskapet,
Urselle,
Dark Day,
Liliput,
The Names,
Kool G Rap & DJ Polo,
Neil Young,
Todd Rundgren,
Quadrant,
John Lydon,
The Monks,
Whodini,
Janne Schatter,
EPMD,
Outsiders,
The Kinks,
Masters at Work,
Sonic Youth,
The Standells,
The Cure,
The Fugs,
Pole,
Sound Behaviour,
Inner City,
Electric Light Orchestra,
Unrelated Segments,
Magazine,
The Pop Group,
Q65,
Peter Gordon & Love of Life Orchestra,
The Moleskins,
Little Man,
Popol Vuh,
Man Eating Sloth,
The Neon Judgement,
Kas Product,
Kerrie Biddell,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.