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 Mauritius and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Mumbai 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 The Detroit Cobras to the rock kids.
I played it at the Astoria.
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 Marc Almond. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Flamin' Groovies 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Masters at Work,
Gerry Rafferty,
Kenny Larkin,
These Immortal Souls,
Thinking Fellers Union Local 282,
Bobby Sherman,
Crispy Ambulance,
The Buckinghams,
Matthew Halsall,
Gang Gang Dance,
DJ Sneak,
A Certain Ratio,
Scratch Acid,
The Slits,
The Red Krayola,
The Standells,
Delon & Dalcan,
Scientists,
Jeff Mills,
Rowland S Howard / Lydia Lunch,
DNA,
EPMD,
Stockholm Monsters,
Prince Buster,
Kool Moe Dee,
Girls At Our Best!,
Young Marble Giants,
Captain Beefheart & His Magic Band,
Slick Rick,
Jawbox,
Arab on Radar,
The Peanut Butter Conspiracy,
The Kinks,
Intrusion,
Slave,
Lower 48,
Severed Heads,
Television Personalities,
Black Pus,
Althea and Donna,
Pole,
Albert Ayler,
MDC,
Tom Boy,
Inner City,
Leonard Cohen,
Theoretical Girls,
Lalo Schifrin,
Babytalk,
New York Dolls,
Don Cherry,
Kerri Chandler,
Erasure,
Camberwell Now,
Mo-Dettes,
Nick Fraelich,
Rufus Thomas,
Wire,
Model 500,
Minutemen,
The Durutti Column,
Suicide,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.