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 Lebanon and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and Edmonton.
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 synthesizer 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 Sisters of Mercy to the disco kids.
I played it at the Troubador.
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 Nation of Ulysses. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Clear Light 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 '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Tropical Tobacco,
Quadrant,
Oneida,
Bang on a Can All-Stars,
Aswad,
The Velvet Underground,
the Normal,
Bobby Womack,
Gabor Szabo,
A Flock of Seagulls,
D'Angelo,
Hoover,
Pete Rock & C.L. Smooth,
Throbbing Gristle,
Tres Demented,
Bobby Hutcherson,
Frankie Knuckles,
Saccharine Trust,
FM Einheit,
Lightning Bolt,
Grey Daturas,
Vaughan Mason & Crew,
Lou Reed & John Cale,
Pantaleimon,
The Alarm Clocks,
Liliput,
Gichy Dan,
The Moody Blues,
Blossom Toes,
Tomorrow,
John Holt,
Grauzone,
James White and The Blacks,
Ornette Coleman,
Bootsy Collins,
Lou Reed & Metallica,
The Zeros,
Selector Dub Narcotic,
The Litter,
Jacob Miller,
Harpers Bizarre,
The Doobie Brothers,
Leonard Cohen,
Kerrie Biddell,
The Monks,
Byron Stingily,
Visionaries,LMNO, T- Love & Iriscience,
Swell Maps,
CMW,
Fluxion,
The Men They Couldn't Hang,
Grandmaster Flash and the Furious Five,
Dorothy Ashby,
Panda Bear,
Audionom,
Donald Byrd,
Icehouse,
Metal Thangz,
PIL,
The Slackers, The Slackers, The Slackers, The Slackers.
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.