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 Iceland and from Woodstock.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Beijing and Tehran.
I'm losing my edge to the art-school Paris 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 mellotron 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 Fat Boys to the crunk kids.
I played it at Trash.
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 Saints. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Country Joe & The Fish,
Qualms,
Rosa Yemen,
Yazoo,
Joe Smooth,
The Motions,
The Detroit Cobras,
Quadrant,
Bronski Beat,
Chris & Cosey,
Skaos,
Yellowson,
Crooked Eye,
Ornette Coleman,
Saccharine Trust,
Technova,
Marine Girls,
Cheater Slicks,
Donny Hathaway,
Lungfish,
Lucky Dragons,
Avey Tare,
Theoretical Girls,
Charles Mingus,
Piero Umiliani,
FM Einheit,
Underground Resistance,
Magma,
Jimmy McGriff,
The Wake,
Eurythmics,
Kool Moe Dee,
The Mojo Men,
Rotary Connection,
Avey Tare's Slasher Flicks,
Reagan Youth,
Eli Mardock,
The Busters,
The West Coast Pop Art Experimental Band,
Drexciya,
Mark Hollis,
Faust,
Deutsch Amerikanische Freundschaft,
Black Moon,
Gerry Rafferty,
The Moody Blues,
Agitation Free,
Porter Ricks,
Swans,
Tres Demented,
Aural Exciters,
The Skatalites,
Susan Cadogan,
The Shadows of Knight,
Sun Ra Arkestra,
Reuben Wilson,
CMW,
Au Pairs,
Vaughan Mason & Crew,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.