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 Peru and from Copenhagen.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 The Gun Club to the techno kids.
I played it at CBGB's.
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 Marshall Jefferson. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ 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?
Mary Jane Girls,
Juan Atkins,
Connie Case,
Tom Boy,
Blake Baxter,
The Divine Comedy,
James Chance & The Contortions,
Siouxsie and the Banshees,
the Sonics,
K-Klass,
Excepter,
James White and The Blacks,
Mark Hollis,
The Buckinghams,
The Gun Club,
Alison Limerick,
Amon Düül,
Monolake,
Cheater Slicks,
Joe Smooth,
Angry Samoans,
Rosa Yemen,
Albert Ayler,
China Crisis,
Mission of Burma,
Sun City Girls,
Drive Like Jehu,
Barclay James Harvest,
the Association,
Gil Scott-Heron and Jamie xx,
Eddi Front,
Nik Kershaw,
The Pretty Things,
Lucky Dragons,
Kayak,
48th St. Collective,
Panda Bear,
Intrusion,
The Names,
Motorama,
Fugazi,
Stiv Bators,
Supertramp,
Cymande,
Flamin' Groovies,
Lou Reed & Metallica,
Saccharine Trust,
The Detroit Cobras,
Roger Hodgson,
The Happenings,
Marmalade,
The Pop Group,
A Certain Ratio,
Brothers Johnson,
Scott Walker,
cv313,
Mr. Review,
The Stooges,
Faust,
Deutsch Amerikanische Freundschaft,
Kauko Röyhkä ja Narttu,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.