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 Estonia and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Glasgow 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 808 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 Fort Wilson Riot to the punk kids.
I played it at the 40 Watt.
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 Massinfluence. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Talk Talk 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Tres Demented,
The Alarm Clocks,
The Toasters,
Eric Copeland,
Royal Trux,
Deadbeat,
The Wake,
Faraquet,
The Remains,
Lalann,
Dave Gahan,
Stockholm Monsters,
Danielle Patucci,
The Divine Comedy,
The Index,
Glenn Branca,
Todd Terry,
48th St. Collective,
Red Lorry Yellow Lorry,
Model 500,
Mark Hollis,
Unrelated Segments,
Fluxion,
The Men They Couldn't Hang,
The Count Five,
Kas Product,
Pantytec,
Louis and Bebe Barron,
The Smiths,
John Coltrane,
June Days,
The Chocolate Watch Band,
Soft Cell,
Public Image Ltd.,
Leonard Cohen,
Sound Behaviour,
The Tremeloes,
Delon & Dalcan,
A Flock of Seagulls,
Andrew Hill,
Black Flag,
Selector Dub Narcotic,
The Barracudas,
New Age Steppers,
The Mojo Men,
Khruangbin,
T.S.O.L.,
Eurythmics,
Rakim,
Thee Headcoats,
the Human League,
Scion,
Ajijia Myrayebe,
Television Personalities,
Newcleus,
Kenny Larkin,
Siglo XX,
PIL,
Lou Reed & John Cale,
The Techniques,
The Vogues,
R.M.O.,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.