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 Mongolia and from Salvador.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Cairo and Seoul.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe 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 Scott Walker to the rock kids.
I played it at the Hacienda.
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 Neil Young & Crazy Horse. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Parry Music,
Moby Grape,
Nirvana,
The Evens,
The Monks,
Harpers Bizarre,
Girls At Our Best!,
KRS-One,
Ornette Coleman,
A Flock of Seagulls,
Deutsch Amerikanische Freundschaft,
Thompson Twins,
Fluxion,
Sunsets and Hearts,
Swans,
OOIOO,
Gil Scott-Heron and Jamie xx,
These Immortal Souls,
The Chocolate Watch Band,
Peter and Kerry,
Mission of Burma,
Marc Romboy vs. Booka Shade,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Hood,
Fear,
Magazine,
Jawbox,
Max Romeo,
Rhythim Is Rhythim,
Jerry Gold Smith,
David Bowie,
The J.B.'s,
Marmalade,
the Bar-Kays,
The Invisible,
Rapeman,
The Peanut Butter Conspiracy,
Gil Scott Heron,
Country Joe & The Fish,
Man Eating Sloth,
The Index,
The Count Five,
Public Image Ltd.,
Bobby Womack,
the Soft Cell,
Albert Ayler,
Bob Dylan,
Ajijia Myrayebe,
Spoonie Gee,
The Men They Couldn't Hang,
Reagan Youth,
Motorama,
Steve Hackett,
Grauzone,
Deepchord,
Masters at Work,
Tim Buckley,
Drive Like Jehu,
UT,
Blancmange,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.