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 Kiribati and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Portland 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Sister Nancy to the disco kids.
I played it at the Hacienda.
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 Roxy Music. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal funk 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Lonnie Liston Smith,
Leonard Cohen,
Deadbeat,
Arthur Verocai,
Jandek,
Wings,
The Durutti Column,
Pere Ubu,
Black Moon,
Monolake,
Roger Hodgson,
DNA,
Underground Resistance,
Das Ding,
Television Personalities,
Easy Going,
Ken Boothe,
James White and The Blacks,
Donny Hathaway,
The Saints,
Minor Threat,
Inner City,
The Gladiators,
Connie Case,
The Red Krayola,
Barclay James Harvest,
Liliput,
Roy Ayers Ubiquity,
Freddie Wadling,
Black Flag,
The Shadows of Knight,
Siglo XX,
Bill Wells,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Neon Judgement,
Camron Feat. Jay Z And Juelz,
Peter Gordon & Love of Life Orchestra,
The Mojo Men,
Slick Rick,
Royal Trux,
Adolescents,
Godley & Creme,
Kerri Chandler,
Fort Wilson Riot,
Skarface,
Wighnomy Brothers & Robag Wruhme,
Sam Rivers,
Louis and Bebe Barron,
Jacques Brel,
Drexciya,
Ajijia Myrayebe,
Japan,
Bob Dylan,
The Black Dice,
Dawn Penn,
Red Lorry Yellow Lorry,
Gang Gang Dance,
Lou Reed & John Cale,
Andrew Ashong & Theo Parrish,
Shoche,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.