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 Malawi and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Can 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 The Royal Family And The Poor. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Peter and Kerry,
Jeru the Damaja,
Minnie Riperton,
Suburban Knight,
Sex Pistols,
a-ha,
Moss Icon,
Porter Ricks,
Stiv Bators,
Matthew Halsall,
Khruangbin,
Scion,
Strawberry Alarm Clock,
Teenage Jesus and the Jerks,
Wings,
Nirvana,
Dennis Brown,
Oppenheimer Analysis,
Cal Tjader,
Echo & the Bunnymen,
Jacques Brel,
Super Lover Cee & Casanova Rud,
Blossom Toes,
Albert Ayler,
The Peanut Butter Conspiracy,
Lungfish,
Rites of Spring,
Lee Hazlewood,
Eden Ahbez,
Pole,
Terror Squad Feat. Camron,
Joensuu 1685,
The Gladiators,
Lower 48,
The Neon Judgement,
Graham Central Station,
Ultimate Spinach,
John Holt,
Ronan,
Pantaleimon,
Barbara Tucker,
Q and Not U,
Art Ensemble Of Chicago,
The Blues Magoos,
Massinfluence,
Jesper Dahlbäck,
The Mighty Diamonds,
Marshall Jefferson,
The Dirtbombs,
Oneida,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nick Fraelich,
Suicide,
Byron Stingily,
Wire,
Larry & the Blue Notes,
Glambeats Corp.,
Scratch Acid,
Underground Resistance,
Tim Buckley,
Ohio Players,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.