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 Croatia and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Lille 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 Holger Czukay 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 Piero Umiliani to the techno 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 Crime. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Warren Ellis,
Glenn Branca,
James Chance & The Contortions,
Barclay James Harvest,
Spoonie Gee,
Thinking Fellers Union Local 282,
Lyres,
Procol Harum,
Delon & Dalcan,
Buzzcocks,
Warsaw,
Amon Düül II,
Don Cherry,
The Divine Comedy,
The Pretty Things,
Sound Behaviour,
Severed Heads,
In Retrospect,
Cecil Taylor,
Jawbox,
Shoche,
The Associates,
Sad Lovers and Giants,
X-Ray Spex,
Ultravox,
Malaria!,
CMW,
Aural Exciters,
Symarip,
Vaughan Mason & Crew,
Stetsasonic,
Saccharine Trust,
Pharoah Sanders,
Hashim,
kango's stein massive,
Intrusion,
Lalo Schifrin,
Trumans Water,
Eric Copeland,
Flipper,
La Düsseldorf,
The Fortunes,
Brass Construction,
Magazine,
The Pop Group,
Barrington Levy,
Eddi Front,
The Misunderstood,
Boredoms,
Banda Bassotti,
Mr. Review,
Sarah Menescal,
Babytalk,
Fatback Band,
Matthew Halsall,
Curtis Mayfield,
Reuben Wilson,
The Sonics,
Gang of Four,
Gang Green,
Faust, Faust, Faust, Faust.
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.