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 South Sudan and from Calgary.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Dual Sessions to the techno kids.
I played it at Cafe Wha.
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 The Seeds. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Orchestral Manoeuvres in the Dark,
Susan Cadogan,
Bob Dylan,
cv313,
Metal Thangz,
Bronski Beat,
Louis and Bebe Barron,
Tres Demented,
Davy DMX,
Jesper Dahlbäck,
Girls At Our Best!,
The Chocolate Watch Band,
Harry Pussy,
Alice Coltrane,
The Mummies,
Ituana,
Roy Ayers,
Janne Schatter,
Rosa Yemen,
Eden Ahbez,
Lyres,
Warsaw,
Suburban Knight,
Malaria!,
The Human League,
The Offenders,
X-102,
Jacob Miller,
The Flesh Eaters,
Sparks,
Bizarre Inc.,
Maurizio,
The Red Krayola,
Banda Bassotti,
Marvin Gaye,
The Golliwogs,
Danielle Patucci,
Popol Vuh,
Faraquet,
Nils Olav,
Hardrive,
Gang Starr,
Pantytec,
Amazonics,
Soft Cell,
Cameo,
Fat Boys,
Harpers Bizarre,
Black Flag,
Lakeside,
Trumans Water,
Wire,
Curtis Mayfield,
Shuggie Otis,
The Leaves,
Eyeless In Gaza,
Stockholm Monsters,
Yazoo,
Archie Shepp,
The Beau Brummels,
Crispy Ambulance,
Rakim, Rakim, Rakim, Rakim.
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.