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 Japan and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Bobby Sherman to the punk kids.
I played it at the Spitz.
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 Juan Atkins. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Brick,
Peter Gordon & Love of Life Orchestra,
The Beau Brummels,
Robert Görl,
EPMD,
Blake Baxter,
Swans,
Thee Headcoats,
Harmonia,
Vladislav Delay,
The Searchers,
Roger Hodgson,
The Fire Engines,
Rufus Thomas,
The New Christs,
The Slackers,
Hoover,
Sex Pistols,
Deakin,
June Days,
Colin Newman,
Spoonie Gee,
Wighnomy Brothers & Robag Wruhme,
Teenage Jesus and the Jerks,
Al Stewart,
D'Angelo,
David Axelrod,
Ludus,
Albert Ayler,
Ken Boothe,
The Pretty Things,
Bad Manners,
Notorious Big And Bone Thugs,
Freddie Wadling,
Warsaw,
Amon Düül II,
Danielle Patucci,
Banda Bassotti,
Steve Hackett,
Can,
Ohio Players,
Minnie Riperton,
The Monks,
Connie Case,
Throbbing Gristle,
Neu!,
Alice Coltrane,
The Names,
Wasted Youth,
Drexciya,
Youth Brigade,
Bauhaus,
Oblivians,
Liliput,
Terrestrial Tones,
Pharaoh Sanders and the Fire Engines,
Visionaries,LMNO, T- Love & Iriscience,
Outsiders, Outsiders, Outsiders, Outsiders.
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.