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 Lithuania and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1974.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Milan 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 güiro 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 Bad Manners to the grime 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 Art Ensemble Of Chicago. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Men They Couldn't Hang,
Man Eating Sloth,
the Bar-Kays,
Bobby Sherman,
Rod Modell,
Roy Ayers,
The Raincoats,
Make Up,
Johnny Clarke,
The Slackers,
Camron Feat. Memphis Bleek And Beenie Seigel,
R.M.O.,
Josef K,
Röyhkä ja Rättö ja Lehtisalo,
The Martian,
Barbara Tucker,
Pussy Galore,
MDC,
Gang Gang Dance,
Japan,
Gerry Rafferty,
ABBA,
Spoonie Gee,
Gil Scott-Heron & Brian Jackson,
Los Fastidios,
Saccharine Trust,
Interpol,
The Saints,
Infiniti,
Fluxion,
Brass Construction,
The Cure,
Terror Squad Feat. Camron,
Grauzone,
The Modern Lovers,
The Peanut Butter Conspiracy,
Jimmy McGriff,
Sixth Finger,
48th St. Collective,
Radiopuhelimet,
Selector Dub Narcotic,
Larry & the Blue Notes,
Tom Boy,
Dennis Brown,
Sunsets and Hearts,
Pere Ubu,
Fort Wilson Riot,
Mark Hollis,
The Cramps,
John Holt,
Circle Jerks,
Tropical Tobacco,
Agitation Free,
Lonnie Liston Smith,
Lindisfarne,
Funky Four + One,
Scratch Acid,
Vladislav Delay,
Rekid,
Peter & Gordon,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.