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 Comoros and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Portland and Johannesburg.
I'm losing my edge to the art-school Bremen 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Marmalade to the rock kids.
I played it at the Crocodile.
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 Neu!. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Young Marble Giants 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Bizarre Inc.,
Brass Construction,
Drexciya,
L. Decosne,
The Count Five,
Reuben Wilson,
David McCallum,
Jawbox,
David Axelrod,
Surgeon,
Pole,
Isaac Hayes,
The Cowsills,
The Toasters,
Amon Düül II,
Andrew Ashong & Theo Parrish,
James Chance & The Contortions,
The Cramps,
Negative Approach,
Groovy Waters,
Ultravox,
Subhumans,
Gian Franco Pienzio,
Wighnomy Brothers & Robag Wruhme,
Boredoms,
Chris Corsano,
The Selecter,
Theoretical Girls,
Archie Shepp,
Piero Umiliani,
Kerrie Biddell,
Man Eating Sloth,
Crash Course in Science,
Half Japanese,
Throbbing Gristle,
Cymande,
Rosa Yemen,
The Neon Judgement,
Lebanon Hanover,
The Durutti Column,
Röyhkä ja Rättö ja Lehtisalo,
Rowland S Howard / Lydia Lunch,
Notorious BIG live in Amsterdam,
AZ,
Aloha Tigers,
Eden Ahbez,
Average White Band,
Anakelly,
Heavy D & The Boyz,
Ohio Players,
Ken Boothe,
The Pretty Things,
Aaron Thompson,
Barclay James Harvest,
Thompson Twins,
Slick Rick,
It's A Beautiful Day,
Silicon Teens,
Matthew Bourne,
Orchestral Manoeuvres in the Dark,
The Fugs, The Fugs, The Fugs, The Fugs.
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.