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 France and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Jakarta.
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 oboe 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 The Star Department to the punk kids.
I played it at the Spitz.
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 The Slits. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Detroit Cobras,
Gil Scott-Heron & Brian Jackson,
Urselle,
Dead Boys,
Toni Rubio,
Dennis Brown,
Simply Red,
Sly & The Family Stone,
Erasure,
Pantytec,
Camron Feat. Memphis Bleek And Beenie Seigel,
David McCallum,
Spoonie Gee,
The Kinks,
Main Source,
Metal Thangz,
Todd Terry,
Angry Samoans,
Smog,
The Mighty Diamonds,
Joyce Sims,
Gabor Szabo,
cv313,
Jacques Brel,
A Certain Ratio,
The Dave Clark Five,
Lonnie Liston Smith,
In Retrospect,
The Black Dice,
Bluetip,
The Doors,
T.S.O.L.,
Lower 48,
the Soft Cell,
Traffic Nightmare,
Davy DMX,
Japan,
Lou Reed,
Con Funk Shun,
Sixth Finger,
Orchestral Manoeuvres in the Dark,
Gerry Rafferty,
Aural Exciters,
Eurythmics,
Alison Limerick,
Larry & the Blue Notes,
Tubeway Army,
The Tremeloes,
Dual Sessions,
Mo-Dettes,
Agent Orange,
Country Joe & The Fish,
Talk Talk,
Grauzone,
Banda Bassotti,
The Moody Blues,
Josef K,
David Bowie,
L. Decosne,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.