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 Paraguay and from Lagos.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 Faust to the disco kids.
I played it at CBGB's.
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 Roxy Music. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Can,
Cymande,
Brothers Johnson,
Blossom Toes,
Cluster,
Lee Hazlewood,
Magma,
Lafayette Afro Rock Band,
The Modern Lovers,
Sound Behaviour,
The Evens,
Sun Ra Arkestra,
Charles Mingus,
Yazoo,
The Toasters,
Glenn Branca,
Sam Rivers,
James White and The Blacks,
Public Enemy,
Jesper Dahlback,
The Walker Brothers,
Los Fastidios,
Royal Trux,
Blake Baxter,
Lizzy Mercier Descloux,
Lalann,
The Cure,
Reagan Youth,
ABC,
Loose Ends,
Gil Scott Heron,
Eddi Front,
Brass Construction,
Unwound,
Smog,
Anthony Braxton,
Youth Brigade,
Negative Approach,
Drive Like Jehu,
Susan Cadogan,
The Pop Group,
Rekid,
Fad Gadget,
Mantronix,
X-102,
Man Eating Sloth,
John Cale,
Faraquet,
Cal Tjader,
Supertramp,
Patti Smith,
ABBA,
Basic Channel,
Ice-T,
The Index,
Kauko Röyhkä ja Narttu,
The Grass Roots,
The Kinks,
The Fuzztones,
Arthur Verocai,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.