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 Ecuador and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school London 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Schoolly D to the rock 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 Neil Young. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a 10cc record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
The Velvet Underground,
the Swans,
Ronnie Foster,
Inner City,
Bobby Womack,
Dark Day,
Lou Reed & Metallica,
Lizzy Mercier Descloux,
Ultra Naté,
Barbara Tucker,
Barry Ungar,
Girls At Our Best!,
the Soft Cell,
Magazine,
Sarah Menescal,
Anakelly,
U.S. Maple,
Underground Resistance,
Freddie Wadling,
Laurel Aitken,
Avey Tare,
Icehouse,
Nirvana,
The Doobie Brothers,
Radiopuhelimet,
DeepChord presents Echospace,
Teenage Jesus and the Jerks,
The Residents,
Khruangbin,
Fad Gadget,
Angels of Light & Akron/Family,
Flipper,
The West Coast Pop Art Experimental Band,
Sparks,
Sight & Sound,
Aswad,
Supertramp,
The Techniques,
Shoche,
Kayak,
Eric Copeland,
Rekid,
Soft Cell,
Unwound,
David McCallum,
The Alarm Clocks,
Neu!,
Bizarre Inc.,
Desert Stars,
Pagans,
The Fire Engines,
The Associates,
8 Eyed Spy,
In Retrospect,
The Pop Group,
Mantronix,
Pharaoh Sanders and the Fire Engines,
The Flesh Eaters,
Throbbing Gristle,
X-Ray Spex,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.