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 Ukraine and from Bologna.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lille and Lagos.
I'm losing my edge to the art-school Toronto 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 Holger Czukay 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 Jesper Dahlbäck to the jazz 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 Cabaret Voltaire. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Dawn Penn,
Junior Murvin,
The Martian,
June Days,
Wire,
The Toasters,
The Shadows of Knight,
New Age Steppers,
The Blackbyrds,
Ohio Players,
Amazonics,
The Mummies,
Oblivians,
Alison Limerick,
The Monochrome Set,
Tears for Fears,
Sight & Sound,
Amon Düül II,
The Durutti Column,
Gian Franco Pienzio,
Altered Images,
Rapeman,
Pole,
The Star Department,
Faust,
Harry Pussy,
Bobby Sherman,
Major Organ And The Adding Machine,
Malaria!,
the Normal,
cv313,
Pantaleimon,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Hot Snakes,
Q and Not U,
Ultravox,
Art Ensemble Of Chicago,
The Cowsills,
Agitation Free,
Blancmange,
Pete Rock & C.L. Smooth,
Slave,
Angels of Light & Akron/Family,
Byron Stingily,
Shuggie Otis,
Funkadelic,
Brass Construction,
The Sound,
Surgeon,
Danielle Patucci,
Monks,
Kevin Saunderson,
Stiv Bators,
Sun Ra,
The American Breed,
D'Angelo,
Gregory Isaacs,
Minor Threat,
Kayak,
The Blues Magoos,
The Move, The Move, The Move, The Move.
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.