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 Malawi and from Paris.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Tokyo 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Dorothy Ashby to the electroclash kids.
I played it at the Astoria.
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 Glambeats Corp.. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Janne Schatter,
Mr. Review,
MDC,
Joe Smooth,
kango's stein massive,
Peter and Kerry,
The Motions,
These Immortal Souls,
The Moleskins,
Delon & Dalcan,
The Fuzztones,
Jeff Mills,
Ten City,
the Slits,
Parry Music,
Kauko Röyhkä ja Narttu,
Spandau Ballet,
Inner City,
Eli Mardock,
Roy Ayers Ubiquity,
Terry Callier,
Aloha Tigers,
Accadde A,
Ornette Coleman,
Drexciya,
Fifty Foot Hose,
Shoche,
Major Organ And The Adding Machine,
Wighnomy Brothers & Robag Wruhme,
David Axelrod,
De La Soul & Jungle Brothers,
Icehouse,
Albert Ayler,
Traffic Nightmare,
Pete Rock & C.L. Smooth,
Lower 48,
Wolf Eyes,
Sun Ra Arkestra,
Marvin Gaye,
The Neon Judgement,
The Royal Family And The Poor,
Gastr Del Sol,
Shuggie Otis,
Nils Olav,
Mantronix,
Todd Rundgren,
the Germs,
Thinking Fellers Union Local 282,
The Smiths,
Adolescents,
The Durutti Column,
The Blackbyrds,
Neu!,
Barbara Tucker,
Junior Murvin,
Thompson Twins,
The Peanut Butter Conspiracy,
The Dead C,
Minny Pops,
Sex Pistols,
Echospace, Echospace, Echospace, Echospace.
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.