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 Ethiopia and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Orchestral Manoeuvres in the Dark to the electroclash kids.
I played it at the Crocodile.
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 ABBA. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Agent Orange 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 '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
The Men They Couldn't Hang,
K-Klass,
Sam Rivers,
Camouflage,
Rapeman,
Max Romeo,
Absolute Body Control,
Man Parrish,
Jacob Miller,
The United States of America,
Visionaries,LMNO, T- Love & Iriscience,
The Electric Prunes,
Procol Harum,
Freddie Wadling,
Loose Ends,
Pussy Galore,
The Velvet Underground,
Peter Gordon & Love of Life Orchestra,
Young Marble Giants,
Sticky Fingaz feat. Raekwon,
Khruangbin,
Andrew Ashong & Theo Parrish,
Chris Corsano,
Das Ding,
Dorothy Ashby,
Rosa Yemen,
Laurel Aitken,
The Young Rascals,
Beasts of Bourbon,
Cymande,
Tears for Fears,
Sällskapet,
Curtis Mayfield,
Ornette Coleman,
Thompson Twins,
Toni Rubio,
Negative Approach,
Joyce Sims,
Bobby Byrd,
Barclay James Harvest,
The Alarm Clocks,
The Slackers,
The West Coast Pop Art Experimental Band,
Mary Jane Girls,
Section 25,
Niagra,
Scrapy,
Fela Kuti,
Kerrie Biddell,
The Skatalites,
Althea and Donna,
Eric Copeland,
Television Personalities,
Prince Buster,
Buzzcocks,
The Moody Blues,
Little Man,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.