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 Costa Rica and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Flipper to the funk kids.
I played it at the Astoria.
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 Fugazi. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Gil Scott Heron,
Grauzone,
Mission of Burma,
Lou Reed,
Arab on Radar,
The Cure,
Lebanon Hanover,
48th St. Collective,
Leonard Cohen,
Deadbeat,
The Names,
The Techniques,
Electric Light Orchestra,
Motorama,
Joey Negro,
Angels of Light & Akron/Family,
Ronan,
Mr. Review,
The Move,
Stiv Bators,
Peter and Kerry,
The Leaves,
Crime,
H. Thieme,
Joy Division,
Supertramp,
Jimmy McGriff,
Bobby Womack,
Ralphi Rosario,
Amon Düül II,
Quantec,
In Retrospect,
Shuggie Otis,
Kenny Larkin,
Johnny Osbourne,
Siouxsie and the Banshees,
Barrington Levy,
The Smiths,
Lucky Dragons,
The Fortunes,
Amazonics,
Nick Fraelich,
Section 25,
Traffic Nightmare,
The Star Department,
Robert Wyatt,
the Slits,
New Order,
Jacques Brel,
Red Lorry Yellow Lorry,
Aloha Tigers,
Flash Fearless,
June Days,
Aaron Thompson,
Duran Duran,
The Remains,
Surgeon,
The Chocolate Watch Band,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.