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 Guinea-Bissau and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
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 guitar sounds with much patience.
I was there when Michael McDonald 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 Pere Ubu 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 The Young Rascals. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
L. Decosne,
Minny Pops,
Popol Vuh,
K-Klass,
Rapeman,
John Coltrane,
Theoretical Girls,
Justin Hinds & The Dominoes,
Monolake,
Deepchord,
Roxette,
Banda Bassotti,
Country Joe & The Fish,
John Cale,
Stereo Dub,
The United States of America,
Kool G Rap & DJ Polo,
Visionaries,LMNO, T- Love & Iriscience,
Robert Görl,
FM Einheit,
David Axelrod,
E-Dancer,
Scan 7,
Steve Hackett,
CMW,
Bush Tetras,
Rekid,
The Mojo Men,
Dorothy Ashby,
Traffic Nightmare,
The Birthday Party,
Stiv Bators,
Scott Walker,
The Offenders,
Inner City,
Eurythmics,
Siglo XX,
Lucky Dragons,
The Remains,
Shuggie Otis,
Icehouse,
Rosa Yemen,
Joy Division,
Isaac Hayes,
The Real Kids,
the Human League,
A Certain Ratio,
The Toasters,
Major Organ And The Adding Machine,
Johnny Osbourne,
Japan,
D'Angelo,
Joey Negro,
The Walker Brothers,
Bauhaus,
Darondo,
Soulsonic Force,
Terrestrial Tones,
Mars,
Gang Green,
Don Cherry,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.