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 Slovakia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Beijing 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 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 James Chance & The Contortions to the jazz kids.
I played it at Trash.
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 Oppenheimer Analysis. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Brothers Johnson 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Tears for Fears,
Loose Ends,
Joe Smooth,
Scott Walker,
The Dirtbombs,
Black Moon,
Lou Christie,
The Names,
Bizarre Inc.,
Cymande,
Eric Dolphy,
Hashim,
Camouflage,
Dark Day,
The Peanut Butter Conspiracy,
Bush Tetras,
Jesper Dahlbäck,
The Gap Band,
David Bowie,
Ajijia Myrayebe,
The Vogues,
Ultra Naté,
Super Lover Cee & Casanova Rud,
Youth Brigade,
Byron Stingily,
James White and The Blacks,
Ituana,
Theoretical Girls,
Soul Sonic Force,
Mary Jane Girls,
Brass Construction,
Sun Ra,
The Invisible,
Reagan Youth,
Q and Not U,
Joensuu 1685,
Tres Demented,
Fatback Band,
Al Stewart,
Maurizio,
Pharoah Sanders,
Matthew Halsall,
Pantaleimon,
Circle Jerks,
JFA,
The Royal Family And The Poor,
Procol Harum,
Fort Wilson Riot,
Lindisfarne,
Index,
Dead Boys,
Gastr Del Sol,
The Blackbyrds,
Absolute Body Control,
Lou Reed & John Cale,
Pere Ubu,
World's Most,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.