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 Norway and from Seoul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Newcleus to the disco 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 Severed Heads. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Red Lorry Yellow Lorry,
Cymande,
Rhythim Is Rhythim,
Siouxsie and the Banshees,
The Golliwogs,
Pantaleimon,
David Axelrod,
Johnny Clarke,
Swell Maps,
Lalann,
Scientists,
Stiv Bators,
Grandmaster Flash and the Furious Five,
Albert Ayler,
Whodini,
The Buckinghams,
Toni Rubio,
Bronski Beat,
Swans,
Girls At Our Best!,
Bobby Sherman,
Todd Rundgren,
Black Pus,
Loose Ends,
Scratch Acid,
Wire,
Sister Nancy,
Tears for Fears,
Charles Mingus,
Rosa Yemen,
Fela Kuti,
Wings,
Symarip,
The Victims,
Carl Craig,
Accadde A,
The Raincoats,
Blossom Toes,
Nico,
Ultravox,
Donny Hathaway,
James Chance & The Contortions,
K-Klass,
Kauko Röyhkä ja Narttu,
Eurythmics,
Reuben Wilson,
Flash Fearless,
Brick,
Lyres,
Monolake,
James White and The Blacks,
Parry Music,
Patti Smith,
The Count Five,
Electric Light Orchestra,
Black Moon,
Big Daddy Kane,
The Zeros,
D'Angelo,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.