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 Bosnia Herzegovina and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Columbus and Bremen.
I'm losing my edge to the art-school Cairo 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Althea and Donna to the funk kids.
I played it at the Troubador.
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 Alphaville. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Marmalade record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Lee Hazlewood,
DeepChord presents Echospace,
The Slits,
The Cramps,
Jesper Dahlback,
Pierre Henry,
Alison Limerick,
Scrapy,
Masters at Work,
Youth Brigade,
Throbbing Gristle,
Saccharine Trust,
The Chocolate Watch Band,
The Standells,
Kaleidoscope,
Audionom,
The Mojo Men,
EPMD,
Warsaw,
K-Klass,
Icehouse,
Grandmaster Flash and the Furious Five,
Rekid,
Ken Boothe,
Soft Machine,
La Düsseldorf,
Suburban Knight,
Andrew Ashong & Theo Parrish,
Pharaoh Sanders and the Fire Engines,
Black Pus,
Kool G Rap & DJ Polo,
Avey Tare,
James Chance & The Contortions,
Marmalade,
The Trojans,
Terry Callier,
Jeru the Damaja,
Tomorrow,
Essential Logic,
Brick,
Stetsasonic,
Teenage Jesus and the Jerks,
Buzzcocks,
Roger Hodgson,
Aaron Thompson,
Fat Boys,
Agent Orange,
Patti Smith,
Girls At Our Best!,
Ossler,
Brothers Johnson,
Kerrie Biddell,
Warren Ellis,
The Motions,
The Fuzztones,
Bobby Sherman,
Black Moon,
Deakin,
The Electric Prunes,
Peter and Kerry,
Dorothy Ashby,
Kenny Larkin,
Crime,
The Stooges, The Stooges, The Stooges, The Stooges.
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.