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 Thailand and from Manila.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Shanghai 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 organ 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 Bob Dylan to the dance kids.
I played it at the Hacienda.
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 Qualms. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Saccharine Trust,
Reuben Wilson,
Ash Ra Tempel,
Country Teasers,
Average White Band,
Avey Tare's Slasher Flicks,
Colin Newman,
Siglo XX,
The Count Five,
Alison Limerick,
The United States of America,
K-Klass,
The Remains,
A Certain Ratio,
Skaos,
Andrew Ashong & Theo Parrish,
Gang Gang Dance,
Television,
World's Most,
The Blues Magoos,
Los Fastidios,
Sticky Fingaz feat. Raekwon,
Deepchord,
Isaac Hayes,
Youth Brigade,
Flipper,
Public Enemy,
The Beau Brummels,
Mo-Dettes,
The Flesh Eaters,
Visage,
Brass Construction,
Desert Stars,
Donny Hathaway,
Public Image Ltd.,
L. Decosne,
8 Eyed Spy,
Cybotron,
Ultravox,
Wally Richardson,
Sunsets and Hearts,
The Evens,
ABC,
Roger Hodgson,
Dual Sessions,
Terrestrial Tones,
Sam Rivers,
Art Ensemble Of Chicago,
Ponytail,
Young Marble Giants,
Howard Jones,
Angels of Light & Akron/Family,
Heavy D & The Boyz,
R.M.O.,
The Motions,
H. Thieme,
Richard Hell and the Voidoids,
Crime,
Boredoms,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.