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 Estonia and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Gary Puckett & The Union Gap to the techno kids.
I played it at the Spitz.
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 Country Joe & The Fish. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
The Walker Brothers,
X-102,
Fort Wilson Riot,
Neu!,
Danielle Patucci,
Cameo,
Slick Rick,
Teenage Jesus and the Jerks,
The Vogues,
One Last Wish,
Wings,
Gastr Del Sol,
The Leaves,
Derrick Morgan,
Black Moon,
Surgeon,
Oblivians,
KRS-One,
David Bowie,
Isaac Hayes,
The Smoke,
Piero Umiliani,
Darondo,
The Zeros,
Don Cherry,
The Sisters of Mercy,
Y Pants,
Larry & the Blue Notes,
Stereo Dub,
The Shadows of Knight,
Robert Hood,
The Moleskins,
Nick Fraelich,
Drexciya,
Delta 5,
The Electric Prunes,
Pierre Henry,
Amon Düül,
Parry Music,
Shuggie Otis,
The Doobie Brothers,
Roxy Music,
The Raincoats,
Louis and Bebe Barron,
Sound Behaviour,
Avey Tare's Slasher Flicks,
Animal Collective,
ABC,
Susan Cadogan,
Thompson Twins,
the Sonics,
June Days,
Ultramagnetic MC's,
Aswad,
Letta Mbulu,
Easy Going,
Soft Machine,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.