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 Samoa and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Columbus 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 808 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 the Swans to the rock 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 Jerry Gold Smith. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Avey Tare 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Ten City,
Surgeon,
ABBA,
Mission of Burma,
Judy Mowatt,
Andrew Ashong & Theo Parrish,
June of 44,
Moss Icon,
Spandau Ballet,
Khruangbin,
Suicide,
Zapp,
Jerry Gold Smith,
Soul Sonic Force,
The Happenings,
New York Dolls,
The Doobie Brothers,
The Sound,
Grey Daturas,
Jeru the Damaja,
Arab on Radar,
Sight & Sound,
China Crisis,
Monolake,
Lou Reed & Metallica,
the Germs,
Bush Tetras,
Crash Course in Science,
Marmalade,
Delta 5,
The Mojo Men,
Darondo,
Y Pants,
Kings Of Tomorrow,
Quando Quango,
Vladislav Delay,
Scrapy,
Motorama,
Negative Approach,
Mantronix,
Au Pairs,
The Golliwogs,
Sexual Harrassment,
EPMD,
Kerri Chandler,
Nico,
Bootsy's Rubber Band,
Kevin Saunderson,
Blake Baxter,
Supertramp,
Ossler,
Flipper,
Scott Walker + Sunn O))),
Ronan,
Sunsets and Hearts,
Isaac Hayes,
A Flock of Seagulls,
Rhythim Is Rhythim,
KRS-One,
Al Stewart,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.