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 Singapore and from Cairo.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Stockholm 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 theremin 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 Jesper Dahlback to the disco kids.
I played it at the Roxy.
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 Al Stewart. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks 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?
Lakeside,
Wolf Eyes,
The West Coast Pop Art Experimental Band,
Donald Byrd,
Mars,
Pete Rock & C.L. Smooth,
Warren Ellis,
Parry Music,
Angels of Light & Akron/Family,
Boogie Down Productions,
Nils Olav,
The Sound,
Pussy Galore,
Sad Lovers and Giants,
The New Christs,
Isaac Hayes,
Ornette Coleman,
Desert Stars,
Sugar Minott,
Graham Central Station,
The Durutti Column,
Röyhkä ja Rättö ja Lehtisalo,
Siglo XX,
Kenny Larkin,
Letta Mbulu,
Scrapy,
The Cosmic Jokers,
Nico,
Mission of Burma,
Quantec,
Freddie Wadling,
Y Pants,
Junior Murvin,
JFA,
Duran Duran,
Skaos,
Lower 48,
Laurel Aitken,
Bauhaus,
Minnie Riperton,
Ohio Players,
Essential Logic,
Alice Coltrane,
Byron Stingily,
June Days,
the Sonics,
This Heat,
Saccharine Trust,
Kings Of Tomorrow,
Interpol,
The Electric Prunes,
Lalo Schifrin,
The Real Kids,
Stereo Dub,
Man Eating Sloth,
Lindisfarne,
Country Joe & The Fish,
Q and Not U,
F. McDonald,
Schoolly D,
Soul II Soul,
Peter Gordon & Love of Life Orchestra,
Royal Trux,
The Toasters, The Toasters, The Toasters, The Toasters.
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.