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 Australia and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Madrid and Salvador.
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 organ 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 Names to the electroclash kids.
I played it at the Troubador.
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 Cybotron. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Main Source 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Main Source,
Pulsallama,
Scratch Acid,
Arab on Radar,
The Modern Lovers,
Jeru the Damaja,
Matthew Bourne,
Archie Shepp,
Rhythim Is Rhythim,
The Fuzztones,
The Alarm Clocks,
Morten Harket,
L. Decosne,
Pere Ubu,
The Stooges,
D'Angelo,
The Residents,
Suburban Knight,
The Happenings,
Scion,
The J.B.'s,
The Techniques,
The Selecter,
Terrestrial Tones,
Siglo XX,
Saccharine Trust,
Sly & The Family Stone,
The Young Rascals,
Kings Of Tomorrow,
John Holt,
Joy Division,
EPMD,
Letta Mbulu,
Maleditus Sound,
The Red Krayola,
Soulsonic Force,
Popol Vuh,
the Fania All-Stars,
Traffic Nightmare,
Lucky Dragons,
Arcadia,
Pharaoh Sanders and the Fire Engines,
E-Dancer,
Lafayette Afro Rock Band,
The Sisters of Mercy,
Metal Thangz,
Cabaret Voltaire,
Lyres,
Kurtis Blow,
Amon Düül,
Gang Starr,
The Index,
The Invisible,
Lebanon Hanover,
The Beau Brummels,
Alton Ellis,
Jimmy McGriff,
Hoover,
Soul Sonic Force,
Graham Central Station,
Brass Construction,
Rapeman,
Fifty Foot Hose,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.