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 Benin and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1971.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Tokyo 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 snare 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 James Chance & The Contortions to the jazz 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 Alice Coltrane. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Lower 48 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Stockholm Monsters,
Blossom Toes,
Sällskapet,
OOIOO,
Röyhkä ja Rättö ja Lehtisalo,
the Sonics,
Warren Ellis,
Y Pants,
Con Funk Shun,
Trumans Water,
K-Klass,
Marvin Gaye,
Jandek,
Wasted Youth,
Gregory Isaacs,
The Cramps,
Oblivians,
The Mummies,
the Swans,
Blake Baxter,
Agitation Free,
Lightning Bolt,
Yazoo,
A Flock of Seagulls,
Ken Boothe,
Flamin' Groovies,
Urselle,
Aaron Thompson,
Jimmy McGriff,
Tears for Fears,
Inner City,
Lakeside,
Boogie Down Productions,
Amon Düül,
Ronnie Foster,
The Martian,
T.S.O.L.,
Charles Mingus,
Quadrant,
Toni Rubio,
ABC,
Hoover,
PIL,
Monolake,
Lindisfarne,
The Fall,
Rhythm & Sound,
Black Flag,
David Axelrod,
Adolescents,
Amon Düül II,
Hot Snakes,
Severed Heads,
The Golliwogs,
Pete Rock & C.L. Smooth,
Faust,
Cymande,
Mo-Dettes,
Ituana,
Sound Behaviour,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.