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 Marshall Islands and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
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 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 Drive Like Jehu to the jazz kids.
I played it at the Astoria.
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 Ultimate Spinach. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
T.S.O.L.,
Eric Copeland,
Selector Dub Narcotic,
Aloha Tigers,
Gang Gang Dance,
Jimmy McGriff,
Deakin,
Cecil Taylor,
Pagans,
T. Rex,
Bush Tetras,
Boz Scaggs,
Altered Images,
Be Bop Deluxe,
Lou Reed & John Cale,
Robert Wyatt,
Grey Daturas,
Rhythm & Sound,
Skarface,
Eyeless In Gaza,
Babytalk,
Soft Cell,
X-101,
Main Source,
Animal Collective,
Röyhkä ja Rättö ja Lehtisalo,
A Flock of Seagulls,
Flamin' Groovies,
It's A Beautiful Day,
Rapeman,
Circle Jerks,
The Men They Couldn't Hang,
Fear,
Kaleidoscope,
Sly & The Family Stone,
the Bar-Kays,
Kayak,
Bobby Womack,
Au Pairs,
Andrew Ashong & Theo Parrish,
Bang on a Can All-Stars,
The Walker Brothers,
Liliput,
Althea and Donna,
The Angels of Light,
Joy Division,
Swans,
Faraquet,
Iggy Pop,
Fad Gadget,
Stetsasonic,
Marcia Griffiths,
The Dirtbombs,
Marc Almond,
Faust,
Throbbing Gristle,
FM Einheit,
Lee Hazlewood,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.