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 Zimbabwe and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Shanghai 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 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 Crooked Eye to the funk kids.
I played it at Cafe Wha.
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 Fort Wilson Riot. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Marc Almond,
Aaron Thompson,
Bang on a Can All-Stars,
The Sisters of Mercy,
Oblivians,
Niagra,
The Jesus and Mary Chain,
Negative Approach,
Thee Headcoats,
Eden Ahbez,
Judy Mowatt,
The Monochrome Set,
The Fugs,
Delon & Dalcan,
The Velvet Underground,
Cal Tjader,
Lee Hazlewood,
Byron Stingily,
Archie Shepp,
Soul Sonic Force,
Lakeside,
the Swans,
The Pretty Things,
Rod Modell,
Donny Hathaway,
Warren Ellis,
Tom Boy,
the Germs,
Malaria!,
Depeche Mode,
KRS-One,
Bauhaus,
The Fall,
Suburban Knight,
The Modern Lovers,
Essential Logic,
U.S. Maple,
Cymande,
The New Christs,
Bobby Womack,
Josef K,
Chris Corsano,
Minor Threat,
La Düsseldorf,
Skarface,
Audionom,
Sam Rivers,
Donald Byrd,
E-Dancer,
The Offenders,
ABC,
Rufus Thomas,
the Slits,
London Community Gospel Choir,
Iggy Pop,
June of 44,
Japan,
Loose Ends,
Larry & the Blue Notes,
The Misunderstood,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.