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 Lebanon and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Bremen 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 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 The Red Krayola to the disco 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 Godley & Creme. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Al Stewart 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Electric Light Orchestra,
Slick Rick,
Blancmange,
8 Eyed Spy,
Khruangbin,
Mantronix,
Dr. Dre and Snoop Doggy Dog,
Barrington Levy,
Byron Stingily,
Eurythmics,
Hasil Adkins,
Eden Ahbez,
Dead Boys,
Harpers Bizarre,
Royal Trux,
China Crisis,
Alison Limerick,
Brand Nubian,
Saccharine Trust,
Lou Reed & John Cale,
It's A Beautiful Day,
The Gories,
Model 500,
The Electric Prunes,
Ornette Coleman,
Gil Scott-Heron & Brian Jackson,
Roy Ayers,
The Mojo Men,
Angry Samoans,
Wasted Youth,
The Zeros,
Kayak,
Big Daddy Kane,
Justin Hinds & The Dominoes,
the Bar-Kays,
the Association,
Junior Murvin,
Colin Newman,
Mo-Dettes,
The Motions,
Brothers Johnson,
CMW,
Sun Ra,
Richard Hell and the Voidoids,
The Dirtbombs,
The Raincoats,
Susan Cadogan,
Mars,
Basic Channel,
Dorothy Ashby,
Faraquet,
Johnny Clarke,
Joyce Sims,
Terrestrial Tones,
Marshall Jefferson,
Siglo XX,
Magazine,
The Pop Group,
Pussy Galore,
The Birthday Party,
The Slackers,
Fear, Fear, Fear, Fear.
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.