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 Yemen and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Spokane.
I'm losing my edge to the art-school Salvador 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 guitar 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 Desert Stars to the funk 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 The Velvet Underground. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
The Cowsills,
The Motions,
Infiniti,
Section 25,
Tim Buckley,
Moby Grape,
Electric Light Orchestra,
The Standells,
Ten City,
The Busters,
Neu!,
DJ Sneak,
Sight & Sound,
The Smiths,
Mad Mike,
Bootsy Collins,
Soulsonic Force,
Schoolly D,
Mark Hollis,
MDC,
Iggy Pop,
The Barracudas,
Lonnie Liston Smith,
Simply Red,
Deutsch Amerikanische Freundschaft,
Rod Modell,
Marshall Jefferson,
Stetsasonic,
Lou Reed & Metallica,
Wire,
In Retrospect,
Ponytail,
Cecil Taylor,
Technova,
Sugar Minott,
Deakin,
The Human League,
AZ,
The Last Poets,
Brand Nubian,
Bobby Hutcherson,
The Five Americans,
Main Source,
The Slackers,
H. Thieme,
Cybotron,
Vladislav Delay,
Essential Logic,
Major Organ And The Adding Machine,
Harry Pussy,
Graham Central Station,
Patti Smith,
Lakeside,
Swans,
Accadde A,
Drive Like Jehu,
The Fugs,
Fort Wilson Riot,
The American Breed,
Spoonie Gee,
Rotary Connection,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.