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 Greece and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Interpol to the dance kids.
I played it at the 40 Watt.
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 Average White Band. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Pylon 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Gong,
The Pop Group,
Rhythim Is Rhythim,
Bobby Womack,
Trumans Water,
Franke,
Aural Exciters,
The Barracudas,
Gang Gang Dance,
Kaleidoscope,
Cymande,
The United States of America,
The Moleskins,
Lungfish,
The Red Krayola,
The Fire Engines,
Q65,
Jeru the Damaja,
Mr. Review,
Delon & Dalcan,
Brick,
Ultravox,
The Detroit Cobras,
KRS-One,
Flash Fearless,
Los Fastidios,
A Certain Ratio,
Mark Hollis,
Jacques Brel,
Stetsasonic,
Avey Tare & Kría Brekkan,
Saccharine Trust,
Man Eating Sloth,
Vladislav Delay,
Colin Newman,
E-Dancer,
Deadbeat,
The Fuzztones,
Radiohead,
Jerry's Kids,
John Coltrane,
Soft Machine,
Janne Schatter,
John Holt,
Boredoms,
Bootsy's Rubber Band,
Blake Baxter,
R.M.O.,
The Grass Roots,
Andrew Hill,
Todd Terry,
Jacob Miller,
John Cale,
Main Source,
Panda Bear,
Gichy Dan,
the Bar-Kays,
Johnny Clarke,
Warsaw,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.