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 Malta and from Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Super Lover Cee & Casanova Rud 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 The Knickerbockers. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal dance 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Lightning Bolt,
Scott Walker,
Rakim,
Roy Ayers,
Can,
Erasure,
The Blackbyrds,
Magazine,
Moebius,
Sly & The Family Stone,
The Seeds,
Black Sheep,
The Remains,
Bronski Beat,
Slave,
Nick Fraelich,
Eric B and Rakim,
Zapp,
Glambeats Corp.,
Sugar Minott,
Crispy Ambulance,
Bobby Hutcherson,
Siouxsie and the Banshees,
Sun Ra Arkestra,
Ohio Players,
Underground Resistance,
Robert Görl,
Zero Boys,
Lucky Dragons,
48th St. Collective,
U.S. Maple,
Bang on a Can All-Stars,
Stiv Bators,
Pierre Henry,
Radiohead,
The Standells,
Lungfish,
Max Romeo,
Drexciya,
Minny Pops,
Metal Thangz,
Visage,
X-102,
Blossom Toes,
AZ,
Pete Rock & C.L. Smooth,
Barry Ungar,
The Velvet Underground,
Cameo,
The Searchers,
The New Christs,
Wasted Youth,
James Chance & The Contortions,
Joey Negro,
UT,
Nick Cave & The Bad Seeds,
Flash Fearless,
The Jesus and Mary Chain,
Mad Mike,
Kevin Saunderson,
Index, Index, Index, Index.
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.