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 Laos and from Lyon.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Beijing 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 theremin 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 Aaron Thompson to the electroclash kids.
I played it at the Spitz.
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 Kas Product. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Vainqueur 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Ornette Coleman,
Marmalade,
Soft Cell,
Reagan Youth,
Kurtis Blow,
Silicon Teens,
June Days,
The Birthday Party,
Mary Jane Girls,
June of 44,
Zero Boys,
Soul II Soul,
Notorious BIG live in Amsterdam,
Rowland S Howard / Lydia Lunch,
Oneida,
Wally Richardson,
Organ,
Patti Smith,
Ultra Naté,
cv313,
Quadrant,
London Community Gospel Choir,
The Leaves,
The Remains,
Lee Hazlewood,
Morten Harket,
Rufus Thomas,
B.T. Express,
Whodini,
Aaron Thompson,
Blake Baxter,
Thinking Fellers Union Local 282,
Procol Harum,
Radiopuhelimet,
Art Ensemble Of Chicago,
Eden Ahbez,
Crime,
The Cowsills,
Darondo,
Eve St. Jones,
The Searchers,
Maleditus Sound,
Jeru the Damaja,
Isaac Hayes,
Scion,
Chris & Cosey,
The Skatalites,
Sun Ra,
Sexual Harrassment,
Be Bop Deluxe,
Liaisons Dangereuses,
The Move,
Ralphi Rosario,
World's Most,
Jesper Dahlback,
Henry Cow,
Carl Craig,
Jimmy McGriff,
Young Marble Giants,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.