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 Slovakia and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Mexico City 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 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 Quando Quango to the electroclash kids.
I played it at Cafe Wha.
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 Connie Case. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Tropical Tobacco 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Ultra Naté,
Peter & Gordon,
Scott Walker + Sunn O))),
48th St. Collective,
La Düsseldorf,
Ash Ra Tempel,
Agent Orange,
Grauzone,
Fifty Foot Hose,
Eyeless In Gaza,
The Stooges,
Organ,
The Black Dice,
The Chocolate Watch Band,
Oppenheimer Analysis,
Dual Sessions,
The Cramps,
Lower 48,
Aloha Tigers,
James White and The Blacks,
Los Fastidios,
Reuben Wilson,
June Days,
Eden Ahbez,
Blossom Toes,
Colin Newman,
Chris Corsano,
Bobby Hutcherson,
Spandau Ballet,
Roy Ayers,
Mark Hollis,
Mary Jane Girls,
Dawn Penn,
Gerry Rafferty,
The Tremeloes,
Mantronix,
The Young Rascals,
Metal Thangz,
World's Most,
The Techniques,
Electric Light Orchestra,
Bauhaus,
The Electric Prunes,
Marvin Gaye,
Boredoms,
Fugazi,
Gang Starr,
Magazine,
Glenn Branca,
Duran Duran,
L. Decosne,
Hashim,
Marcia Griffiths,
Crispy Ambulance,
the Germs,
U.S. Maple,
The Invisible,
Jacob Miller,
Cybotron,
Vaughan Mason & Crew,
Animal Collective,
The Toasters,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.