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 Switzerland and from Philadelphia.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 B.T. Express to the disco 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 London Community Gospel Choir. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Dorothy Ashby,
Crash Course in Science,
Donald Byrd,
The Vogues,
Dawn Penn,
Lindisfarne,
Art Ensemble Of Chicago,
Avey Tare's Slasher Flicks,
Gil Scott Heron,
Easy Going,
Inner City,
Rhythim Is Rhythim,
Moss Icon,
Byron Stingily,
Neil Young,
Bill Wells,
Cheater Slicks,
Electric Prunes,
China Crisis,
Blake Baxter,
Roy Ayers,
Ultra Naté,
Infiniti,
Urselle,
Bobby Sherman,
Drexciya,
The Busters,
F. McDonald,
X-101,
The Human League,
T.S.O.L.,
Blancmange,
Dave Gahan,
Jeff Mills,
Eric Dolphy,
The Dirtbombs,
Scrapy,
ABBA,
Mo-Dettes,
The Walker Brothers,
Can,
Reuben Wilson,
Banda Bassotti,
Camberwell Now,
Matthew Bourne,
Peter and Kerry,
Pierre Henry,
Kas Product,
Man Parrish,
Rowland S Howard / Lydia Lunch,
Barclay James Harvest,
Subhumans,
David Bowie,
Josef K,
Model 500,
Sun City Girls,
Bizarre Inc.,
Heavy D & The Boyz,
JFA,
The Mojo Men,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.