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 Kenya and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Nico to the crunk 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 UT. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal punk 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Bobby Sherman,
Sugar Minott,
The Misunderstood,
Ronnie Foster,
Sad Lovers and Giants,
Albert Ayler,
Bobby Byrd,
Michelle Simonal,
June of 44,
The Sound,
Technova,
DNA,
Interpol,
Jesper Dahlbäck,
Siouxsie and the Banshees,
Avey Tare & Kría Brekkan,
London Community Gospel Choir,
Grauzone,
The Alarm Clocks,
Bang on a Can All-Stars,
Symarip,
Panda Bear,
Faust,
Kings Of Tomorrow,
Blake Baxter,
Sight & Sound,
Mars,
Funkadelic,
The Shadows of Knight,
Saccharine Trust,
Funky Four + One,
K-Klass,
Nik Kershaw,
The Fugs,
Oppenheimer Analysis,
The United States of America,
Roger Hodgson,
Davy DMX,
Camouflage,
a-ha,
Moss Icon,
Lebanon Hanover,
Terror Squad Feat. Camron,
Magma,
Young Marble Giants,
Wighnomy Brothers & Robag Wruhme,
Half Japanese,
FM Einheit,
The Mojo Men,
R.M.O.,
D'Angelo,
The Music Machine,
Animal Collective,
Pulsallama,
Deadbeat,
Notorious Big And Bone Thugs,
The Gap Band,
Sex Pistols,
Tommy Roe,
Camberwell Now,
Groovy Waters,
Kerrie Biddell,
Cluster, Cluster, Cluster, Cluster.
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.