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 Turkmenistan and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
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 sitar 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 Radiopuhelimet to the rap kids.
I played it at the Roxy.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Drive Like Jehu,
Bush Tetras,
Art Ensemble Of Chicago,
Cal Tjader,
Unrelated Segments,
Maurizio,
The Mighty Diamonds,
The Evens,
The Residents,
Harpers Bizarre,
Magma,
James Chance & The Contortions,
Mandrill,
Popol Vuh,
Tropical Tobacco,
Jimmy McGriff,
Q65,
Flash Fearless,
Agitation Free,
Barrington Levy,
The Gladiators,
Royal Trux,
Los Fastidios,
Connie Case,
Peter and Kerry,
Steve Hackett,
The Misunderstood,
Andrew Ashong & Theo Parrish,
Aaron Thompson,
Bang on a Can All-Stars,
Trumans Water,
Nick Cave & The Bad Seeds,
The Litter,
Tomorrow,
Toni Rubio,
Q and Not U,
The Birthday Party,
The Trojans,
Glambeats Corp.,
Don Cherry,
Terry Callier,
The Red Krayola,
Circle Jerks,
The Seeds,
Sex Pistols,
Neu!,
The American Breed,
Ultravox,
Eve St. Jones,
Major Organ And The Adding Machine,
The Royal Family And The Poor,
PIL,
New York Dolls,
Yaz,
Orchestral Manoeuvres in the Dark,
Banda Bassotti,
Bill Near,
The Kinks,
Ash Ra Tempel,
The Shadows of Knight,
The Alarm Clocks,
Icehouse,
The United States of America, The United States of America, The United States of America, The United States of America.
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.