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 Colombia and from Woodstock.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Marmalade to the electroclash 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 Moss Icon. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
R.M.O.,
The Doors,
The Golliwogs,
Fluxion,
New York Dolls,
The Raincoats,
Nas,
Fad Gadget,
The Mighty Diamonds,
Minor Threat,
Radiopuhelimet,
The Sound,
Drexciya,
Spandau Ballet,
Lungfish,
London Community Gospel Choir,
Black Flag,
Freddie Wadling,
John Lydon,
Unwound,
Ice-T,
Tears for Fears,
OOIOO,
Rotary Connection,
Soul Sonic Force,
China Crisis,
Gil Scott-Heron & Brian Jackson,
Peter & Gordon,
The Saints,
Isaac Hayes,
Zapp,
Buzzcocks,
Ohio Players,
Main Source,
The Busters,
The Residents,
The Beau Brummels,
Camouflage,
Gregory Isaacs,
Newcleus,
Lonnie Liston Smith,
Hasil Adkins,
Sexual Harrassment,
U.S. Maple,
Rhythm & Sound,
48th St. Collective,
Ultravox,
ABBA,
Faraquet,
Royal Trux,
Gian Franco Pienzio,
Panda Bear,
James Chance & The Contortions,
Pharoah Sanders,
The Blues Magoos,
Q65,
Boogie Down Productions,
Public Image Ltd.,
The Victims,
Eli Mardock,
Albert Ayler,
Au Pairs,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.