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 Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Glasgow 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 Lou Reed 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 kango's stein massive to the rap 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 Guru Guru. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
the Slits,
Warsaw,
Avey Tare & Kría Brekkan,
Gong,
The Cure,
The Fuzztones,
Rhythm & Sound,
Oneida,
Au Pairs,
Radio Birdman,
Vladislav Delay,
Young Marble Giants,
Nick Fraelich,
Das Ding,
Brothers Johnson,
The Offenders,
China Crisis,
Kenny Larkin,
Eli Mardock,
Swell Maps,
The Beau Brummels,
Cal Tjader,
Moebius,
Heaven 17,
Notorious BIG live in Amsterdam,
The Remains,
Juan Atkins,
The Flesh Eaters,
Marshall Jefferson,
The Buckinghams,
FM Einheit,
Grauzone,
Fluxion,
Country Teasers,
Pete Rock & C.L. Smooth,
Major Organ And The Adding Machine,
The Zeros,
The Cowsills,
Ponytail,
Flash Fearless,
John Coltrane,
Grandmaster Flash and the Furious Five,
The Velvet Underground,
The Gun Club,
K-Klass,
Country Joe & The Fish,
Animal Collective,
Ten City,
Echospace,
Sexual Harrassment,
Organ,
Lou Reed & Metallica,
Wasted Youth,
John Foxx,
Kerri Chandler,
Colin Newman,
Susan Cadogan,
Zapp,
The Barracudas,
Sarah Menescal,
Rekid, Rekid, Rekid, Rekid.
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.