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 Gabon and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Eurythmics to the dance 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 Lalann. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Dead Boys 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Jacques Brel,
Amon Düül,
Lucky Dragons,
AZ,
Newcleus,
The Divine Comedy,
Jimmy McGriff,
The Happenings,
Terror Squad Feat. Camron,
Babytalk,
John Coltrane,
Blossom Toes,
Kenny Larkin,
Godley & Creme,
The Birthday Party,
The Smoke,
Chrome,
The Saints,
Minor Threat,
The West Coast Pop Art Experimental Band,
Mark Hollis,
Pagans,
Agent Orange,
Sparks,
Infiniti,
The Move,
Lebanon Hanover,
Eddi Front,
Essential Logic,
Brick,
Scratch Acid,
Tubeway Army,
Young Marble Giants,
Malaria!,
Pulsallama,
Basic Channel,
Dawn Penn,
Q65,
Make Up,
Dead Boys,
Arcadia,
Bobby Sherman,
Von Mondo,
Albert Ayler,
Cheater Slicks,
Tomorrow,
Wolf Eyes,
Oneida,
The Evens,
The Walker Brothers,
Liaisons Dangereuses,
Matthew Halsall,
Siouxsie and the Banshees,
DNA,
Lalo Schifrin,
The Music Machine,
Neil Young,
B.T. Express,
OOIOO,
The Men They Couldn't Hang,
a-ha,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.