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 Cameroon and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Calgary 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 snare 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 Pharoah Sanders to the dance 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 Dark Day. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every K-Klass 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Moss Icon,
Popol Vuh,
John Lydon,
Siouxsie and the Banshees,
Gary Puckett & The Union Gap,
Mad Mike,
Freddie Wadling,
Max Romeo,
Neil Young,
Theoretical Girls,
Nik Kershaw,
The Star Department,
Röyhkä ja Rättö ja Lehtisalo,
Ornette Coleman,
Joey Negro,
Robert Görl,
Flipper,
Jesper Dahlbäck,
Warsaw,
Erykah Badu,
Albert Ayler,
Lindisfarne,
Lyres,
Harry Pussy,
Soft Machine,
Banda Bassotti,
Camberwell Now,
Section 25,
Wire,
Boredoms,
Matthew Halsall,
Bush Tetras,
Gabor Szabo,
Tears for Fears,
Louis and Bebe Barron,
The Slits,
Pantaleimon,
Sun Ra,
Zero Boys,
Fugazi,
Public Enemy,
Nick Fraelich,
Parry Music,
Shoche,
Jandek,
Wings,
Vainqueur,
Cluster,
Gang Gang Dance,
The Alarm Clocks,
Guru Guru,
The Peanut Butter Conspiracy,
Godley & Creme,
The Mojo Men,
the Fania All-Stars,
Lower 48,
Slick Rick,
The Cure, The Cure, The Cure, The Cure.
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.