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 Zambia and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Bologna 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 clarinet 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 Girls At Our Best! to the jazz kids.
I played it at the Spitz.
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 Move. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Danielle Patucci record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Strawberry Alarm Clock,
June of 44,
MC5,
Beasts of Bourbon,
Metal Thangz,
Reuben Wilson,
Anakelly,
Bootsy Collins,
The Grass Roots,
The Men They Couldn't Hang,
The Seeds,
Das Ding,
Rhythim Is Rhythim,
John Foxx,
Ten City,
The Alarm Clocks,
The Raincoats,
Liliput,
Grauzone,
Skarface,
Average White Band,
Joensuu 1685,
Heaven 17,
Roxy Music,
Amon Düül II,
Ronan,
Newcleus,
DJ Style,
Aural Exciters,
Oblivians,
Subhumans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Television,
Avey Tare,
Derrick May,
Brass Construction,
Lalann,
T. Rex,
Eyeless In Gaza,
Banda Bassotti,
Smog,
L. Decosne,
Stetsasonic,
Bill Near,
Ultravox,
The Cowsills,
Eric Copeland,
CMW,
Nick Fraelich,
Peter & Gordon,
Deadbeat,
Lyres,
Janne Schatter,
Jeff Lynne,
Terror Squad Feat. Camron,
The Litter,
Ituana,
Piero Umiliani,
The New Christs,
Faust,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.