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 Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Susan Cadogan to the disco 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 Ronnie Foster. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops 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?
Lafayette Afro Rock Band,
Sugar Minott,
Camouflage,
Roy Ayers,
Matthew Bourne,
Lou Reed,
Essential Logic,
The Music Machine,
The Detroit Cobras,
The Sound,
The Vogues,
Whodini,
Charles Mingus,
Albert Ayler,
Roxy Music,
Average White Band,
Bootsy Collins,
The Associates,
the Association,
Skarface,
Selector Dub Narcotic,
Porter Ricks,
Eurythmics,
Henry Cow,
Minny Pops,
Rod Modell,
Easy Going,
JFA,
The Grass Roots,
Rekid,
Wire,
Bang On A Can,
Fifty Foot Hose,
Malaria!,
Interpol,
Andrew Ashong & Theo Parrish,
The Offenders,
Avey Tare,
Harpers Bizarre,
Warsaw,
Man Parrish,
Zero Boys,
Lalo Schifrin,
Ronan,
Aswad,
The Evens,
Theoretical Girls,
Y Pants,
the Normal,
Joyce Sims,
The Victims,
The Barracudas,
Sparks,
Angels of Light & Akron/Family,
Amon Düül,
The Techniques,
The Birthday Party,
Kango’s Stein Massive,
The Slits,
The Names,
Teenage Jesus and the Jerks,
Johnny Clarke,
Justin Hinds & The Dominoes,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.