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 Lithuania and from Toronto.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Houston 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 mellotron 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 Sonny Sharrock to the grunge kids.
I played it at the Crocodile.
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 Visage. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
ABBA,
Interpol,
Henry Cow,
Nas,
Sonny Sharrock,
Man Parrish,
Second Layer,
Avey Tare & Kría Brekkan,
Joey Negro,
Rahsaan Roland Kirk,
Mandrill,
L. Decosne,
John Lydon,
The New Christs,
Andrew Ashong & Theo Parrish,
Terrestrial Tones,
Isaac Hayes,
The Trojans,
Deutsch Amerikanische Freundschaft,
Visionaries,LMNO, T- Love & Iriscience,
The Detroit Cobras,
The Cowsills,
Shuggie Otis,
The Knickerbockers,
Lucky Dragons,
Thee Headcoats,
the Bar-Kays,
Bush Tetras,
Parry Music,
Camberwell Now,
Shoche,
Joensuu 1685,
Flipper,
Pantytec,
Siouxsie and the Banshees,
The Motions,
June Days,
Idris Muhammad,
Popol Vuh,
Franke,
Eli Mardock,
Deakin,
Loose Ends,
DJ Sneak,
the Germs,
The Techniques,
The Associates,
Peter Gordon & Love of Life Orchestra,
Kaleidoscope,
Von Mondo,
Delta 5,
Angels of Light & Akron/Family,
The Modern Lovers,
Lou Reed,
FM Einheit,
E-Dancer,
Ultra Naté,
The Vogues,
Suburban Knight,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.