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 El Salvador and from Stockholm.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Columbus 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Los Fastidios to the jazz 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 Roxette. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Ronnie Foster,
Sun City Girls,
Steve Hackett,
John Foxx,
Chrome,
Underground Resistance,
Notorious Big And Bone Thugs,
Kings Of Tomorrow,
Delon & Dalcan,
Nas,
The Cowsills,
X-101,
Joe Finger,
Robert Wyatt,
Bobby Womack,
Metal Thangz,
Donald Byrd,
Aswad,
The Gap Band,
Rahsaan Roland Kirk,
Niagra,
Major Organ And The Adding Machine,
Ituana,
Pere Ubu,
Hardrive,
Glenn Branca,
Harry Pussy,
John Lydon,
Visage,
The Tremeloes,
Skriet,
The Evens,
Arthur Verocai,
Rotary Connection,
Man Parrish,
Bad Manners,
James White and The Blacks,
The Gladiators,
Unwound,
Symarip,
Nick Cave & The Bad Seeds,
James Chance & The Contortions,
Yazoo,
Jeff Mills,
Trumans Water,
Depeche Mode,
Juan Atkins,
the Bar-Kays,
Iggy Pop,
Glambeats Corp.,
Pierre Henry,
Bootsy's Rubber Band,
New York Dolls,
Desert Stars,
Pagans,
Y Pants,
Black Flag,
DJ Sneak,
Country Teasers,
Marc Almond,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.