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 Mauritius and from Mumbai.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Milan 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 the Slits 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 Brass Construction. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
the Normal,
The Doobie Brothers,
DNA,
Porter Ricks,
Excepter,
Sarah Menescal,
Black Sheep,
Ituana,
Lee Hazlewood,
Rhythim Is Rhythim,
Deepchord,
Barclay James Harvest,
Chris & Cosey,
Patti Smith,
Ajijia Myrayebe,
Nas,
The Standells,
Jeff Lynne,
Neil Young & Crazy Horse,
Ornette Coleman,
Sex Pistols,
Ludus,
Tubeway Army,
Black Moon,
cv313,
Scratch Acid,
Nico,
The American Breed,
The Sonics,
Harry Pussy,
Kenny Larkin,
Cameo,
Soul Sonic Force,
Slave,
Marvin Gaye,
Country Joe & The Fish,
R.M.O.,
Television Personalities,
Gil Scott Heron,
Electric Prunes,
Swell Maps,
Altered Images,
Franke,
Accadde A,
Thinking Fellers Union Local 282,
Albert Ayler,
Brand Nubian,
Model 500,
The Martian,
The Smoke,
Barbara Tucker,
The New Christs,
Jacob Miller,
Camberwell Now,
the Swans,
Ronnie Foster,
ABC,
Circle Jerks,
Yazoo,
Chrome,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.