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 Antigua and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Toronto 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 güiro 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 U.S. Maple to the punk 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 Normal. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Underground Resistance 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Electric Light Orchestra,
The Doors,
Blossom Toes,
Crispy Ambulance,
The Men They Couldn't Hang,
Wire,
Rites of Spring,
Althea and Donna,
Bill Near,
Camberwell Now,
Bootsy's Rubber Band,
Pharoah Sanders,
Dorothy Ashby,
Cybotron,
Eyeless In Gaza,
The Standells,
Dr. Dre and Snoop Doggy Dog,
The Cramps,
AZ,
Anakelly,
Massinfluence,
Nico,
Cluster,
Faraquet,
Drive Like Jehu,
Circle Jerks,
Oblivians,
Magma,
Grandmaster Flash and the Furious Five,
The Beau Brummels,
Junior Murvin,
Tommy Roe,
Silicon Teens,
Funky Four + One,
Man Parrish,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Swell Maps,
Oppenheimer Analysis,
Gian Franco Pienzio,
Accadde A,
Derrick May,
Black Flag,
Marc Romboy vs. Booka Shade,
Janne Schatter,
Sound Behaviour,
Soft Cell,
The Zeros,
Bluetip,
Amon Düül II,
Max Romeo,
Sun City Girls,
The American Breed,
Motorama,
The Moleskins,
Bootsy Collins,
The Divine Comedy,
The Music Machine,
The Blackbyrds,
The Shadows of Knight,
Gong,
Symarip,
Gil Scott-Heron & Brian Jackson,
The Mummies,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.