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 Albania and from Houston.
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 1965 to 1977.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Philadelphia 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 808 sounds with much patience.
I was there when Lou Reed 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 Shoche to the funk 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 Boredoms. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Dual Sessions 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Boogie Down Productions,
Technova,
Robert Görl,
Pole,
Orchestral Manoeuvres in the Dark,
Lightning Bolt,
Franke,
The Moody Blues,
Lonnie Liston Smith,
Sad Lovers and Giants,
A Flock of Seagulls,
MDC,
The Buckinghams,
The Men They Couldn't Hang,
Soft Machine,
Boredoms,
Hot Snakes,
These Immortal Souls,
Aaron Thompson,
The Young Rascals,
The Birthday Party,
Mars,
Oppenheimer Analysis,
Mo-Dettes,
Judy Mowatt,
Terry Callier,
Black Bananas,
Unrelated Segments,
Thompson Twins,
Barrington Levy,
Television,
E-Dancer,
Strawberry Alarm Clock,
Rapeman,
One Last Wish,
The Trojans,
Graham Central Station,
Harpers Bizarre,
Cluster,
Deakin,
Faust,
Fat Boys,
Robert Hood,
Bootsy's Rubber Band,
Gian Franco Pienzio,
Chris & Cosey,
Nico,
Flipper,
Pulsallama,
Faraquet,
Rufus Thomas,
Sarah Menescal,
Black Moon,
Lungfish,
Roxy Music,
Davy DMX,
The Cosmic Jokers,
Thinking Fellers Union Local 282,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.