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 Cambodia and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Delhi 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 harpsichord 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 Marmalade to the grunge 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 David Bowie. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Stiv Bators,
Mad Mike,
Half Japanese,
Nation of Ulysses,
Jawbox,
Louis and Bebe Barron,
Heavy D & The Boyz,
Pharoah Sanders,
Cheater Slicks,
Magazine,
China Crisis,
MDC,
Tim Buckley,
Charles Mingus,
Steve Hackett,
Rites of Spring,
Eve St. Jones,
Man Parrish,
Liliput,
Eric Dolphy,
Royal Trux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Curtis Mayfield,
Negative Approach,
The Barracudas,
Crime,
Faraquet,
Marshall Jefferson,
Manfred Mann's Earth Band,
Zapp,
Amon Düül II,
The Happenings,
Visionaries,LMNO, T- Love & Iriscience,
Pylon,
Pantytec,
Sight & Sound,
The Searchers,
Model 500,
Angry Samoans,
Stetsasonic,
The Fall,
Archie Shepp,
Echospace,
Mission of Burma,
Surgeon,
Fela Kuti,
X-102,
Quando Quango,
The Skatalites,
Erasure,
Freddie Wadling,
Nico,
Sound Behaviour,
Sällskapet,
Justin Hinds & The Dominoes,
Gil Scott-Heron and Jamie xx,
The Durutti Column,
Flipper,
Sam Rivers,
Alison Limerick,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.