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 Bulgaria and from Lille.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Johannesburg 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 linndrum 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 Lyres to the techno 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 Wally Richardson. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
London Community Gospel Choir,
Matthew Halsall,
Blossom Toes,
PIL,
Scan 7,
Minor Threat,
Deutsch Amerikanische Freundschaft,
Bobby Sherman,
Mark Hollis,
Tim Buckley,
John Foxx,
Magazine,
The Pop Group,
Red Lorry Yellow Lorry,
Masters at Work,
Jandek,
Easy Going,
The J.B.'s,
Ultimate Spinach,
Sun Ra Arkestra,
E-Dancer,
Audionom,
Pete Rock & C.L. Smooth,
Maleditus Sound,
Kas Product,
Notorious BIG live in Amsterdam,
One Last Wish,
Television,
Youth Brigade,
Suicide,
The Mojo Men,
Mission of Burma,
Dark Day,
Gong,
Babytalk,
Oneida,
Silicon Teens,
Country Teasers,
Amon Düül,
The Monochrome Set,
Kauko Röyhkä ja Narttu,
Gang Gang Dance,
Delta 5,
Beasts of Bourbon,
Boogie Down Productions,
Inner City,
James White and The Blacks,
The Sisters of Mercy,
Janne Schatter,
Soul Sonic Force,
John Coltrane,
Kings Of Tomorrow,
Lyres,
The Barracudas,
Sonic Youth,
Albert Ayler,
Subhumans,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.