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 Zimbabwe and from Shanghai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Country Teasers to the funk 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 Reagan Youth. All the underground hits.
All Magma tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band 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?
The Men They Couldn't Hang,
Thompson Twins,
Zapp,
Juan Atkins,
T. Rex,
Sly & The Family Stone,
Urselle,
Jimmy McGriff,
Nation of Ulysses,
the Normal,
The Smoke,
Bootsy Collins,
Oblivians,
the Slits,
Ornette Coleman,
Manfred Mann's Earth Band,
The Durutti Column,
Ultramagnetic MC's,
Joy Division,
Moby Grape,
B.T. Express,
The Selecter,
Brand Nubian,
Pussy Galore,
Throbbing Gristle,
Rowland S Howard / Lydia Lunch,
ABC,
Anakelly,
Curtis Mayfield,
Lee Hazlewood,
The Slackers,
Tres Demented,
Gastr Del Sol,
EPMD,
Fugazi,
The Modern Lovers,
Absolute Body Control,
Nas,
Bush Tetras,
L. Decosne,
Eric B and Rakim,
The Barracudas,
DNA,
Yazoo,
Neil Young & Crazy Horse,
The Zeros,
Be Bop Deluxe,
The Victims,
Lungfish,
The Velvet Underground,
Eric Copeland,
Sun Ra,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
Dead Boys,
Avey Tare's Slasher Flicks,
New Order,
Charles Mingus,
Marine Girls,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.