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 Marshall Islands and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Portland 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Moebius to the dance kids.
I played it at CBGB's.
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 Archie Shepp. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Fluxion 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Das Ding,
Radiopuhelimet,
Todd Rundgren,
Amazonics,
Swans,
Oppenheimer Analysis,
Organ,
Siglo XX,
Donny Hathaway,
Main Source,
These Immortal Souls,
Chris & Cosey,
Minutemen,
Susan Cadogan,
Gil Scott-Heron and Jamie xx,
Bobby Byrd,
Man Parrish,
The Cramps,
Boz Scaggs,
The Doors,
The Residents,
Louis and Bebe Barron,
Youth Brigade,
The Black Dice,
Wasted Youth,
Depeche Mode,
The Jesus and Mary Chain,
Eurythmics,
The Dave Clark Five,
In Retrospect,
The Dead C,
Andrew Ashong & Theo Parrish,
Joe Smooth,
Circle Jerks,
Bill Near,
Terry Callier,
Marine Girls,
Marc Almond,
David McCallum,
Roxy Music,
Mary Jane Girls,
Warsaw,
Boogie Down Productions,
Eve St. Jones,
Tres Demented,
Michelle Simonal,
Pierre Henry,
Slave,
The Smoke,
Neil Young,
Marmalade,
Camron Feat. Jay Z And Juelz,
Throbbing Gristle,
Sonny Sharrock,
Radio Birdman,
Roy Ayers Ubiquity,
Supertramp,
Wire,
Bizarre Inc.,
Warren Ellis,
Jacques Brel,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.