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 Norway and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Columbus 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 marimba 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 Popol Vuh to the punk kids.
I played it at CBGB's.
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 Peter and Kerry. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Joy Division,
Terrestrial Tones,
Funky Four + One,
The Gap Band,
KRS-One,
The Names,
Soft Machine,
Deutsch Amerikanische Freundschaft,
U.S. Maple,
Sam Rivers,
Sugar Minott,
Johnny Clarke,
Ossler,
The Dave Clark Five,
the Normal,
Altered Images,
Amazonics,
Nick Fraelich,
OOIOO,
Roxette,
the Soft Cell,
Matthew Bourne,
The Invisible,
The Durutti Column,
Eve St. Jones,
Deadbeat,
ABBA,
K-Klass,
Lakeside,
The Count Five,
Aswad,
The Standells,
Roger Hodgson,
The Golliwogs,
The Sound,
Colin Newman,
Sparks,
The Happenings,
Motorama,
Chris & Cosey,
Jacob Miller,
Harpers Bizarre,
The Doobie Brothers,
Sly & The Family Stone,
Rhythm & Sound,
The Slackers,
Anakelly,
John Holt,
Swans,
Connie Case,
Dorothy Ashby,
Pete Rock & C.L. Smooth,
A Flock of Seagulls,
Minny Pops,
Radiopuhelimet,
Echospace,
Parry Music,
Oppenheimer Analysis,
Bobby Byrd,
Traffic Nightmare,
Visage, Visage, Visage, Visage.
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.