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 Netherlands and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Edmonton 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 Crooked Eye to the rap kids.
I played it at the Hacienda.
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 The Slits. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
The Music Machine,
Mary Jane Girls,
The American Breed,
The Knickerbockers,
Smog,
Nirvana,
The Buckinghams,
Arthur Verocai,
Robert Hood,
The Sound,
World's Most,
Lou Christie,
Sun City Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Laurel Aitken,
Reagan Youth,
Moby Grape,
Ken Boothe,
The Wake,
Ultra Naté,
The Blues Magoos,
The Jesus and Mary Chain,
The Durutti Column,
Mark Hollis,
The New Christs,
Porter Ricks,
Crispy Ambulance,
Minnie Riperton,
Danielle Patucci,
The Misunderstood,
OOIOO,
Das Ding,
New York Dolls,
Nik Kershaw,
Tropical Tobacco,
Blake Baxter,
Guru Guru,
Yaz,
Letta Mbulu,
Siouxsie and the Banshees,
Crash Course in Science,
Lebanon Hanover,
the Association,
The J.B.'s,
The Move,
Jesper Dahlbäck,
Echo & the Bunnymen,
The Trojans,
Pere Ubu,
Cymande,
Agent Orange,
Bobby Hutcherson,
Aaron Thompson,
Faraquet,
Wasted Youth,
Can,
Notorious BIG live in Amsterdam,
Jeff Mills,
A Flock of Seagulls,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.