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 Lesotho and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Accra and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 Michael McDonald 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 Wolf Eyes to the punk 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 Sällskapet. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Roy Ayers,
Amon Düül,
Jacques Brel,
John Coltrane,
The Jesus and Mary Chain,
Arab on Radar,
Pagans,
The Seeds,
Sun Ra,
The Move,
Saccharine Trust,
David McCallum,
X-101,
Interpol,
Siglo XX,
The Chocolate Watch Band,
The Pop Group,
London Community Gospel Choir,
Surgeon,
Sonny Sharrock,
Ice-T,
Boredoms,
Gregory Isaacs,
Sight & Sound,
Depeche Mode,
The Electric Prunes,
Moss Icon,
Visionaries,LMNO, T- Love & Iriscience,
Letta Mbulu,
The Selecter,
Clear Light,
Nik Kershaw,
Sad Lovers and Giants,
Liaisons Dangereuses,
Smog,
Rhythim Is Rhythim,
Spoonie Gee,
Loose Ends,
Gerry Rafferty,
Grey Daturas,
Nation of Ulysses,
AZ,
D'Angelo,
DNA,
10cc,
Crooked Eye,
Angry Samoans,
Animal Collective,
Pete Rock & C.L. Smooth,
Jerry's Kids,
Donald Byrd,
Fad Gadget,
Heavy D & The Boyz,
Fifty Foot Hose,
The Invisible,
The Raincoats,
Henry Cow,
The Doors,
Tomorrow,
Boz Scaggs,
The Martian, The Martian, The Martian, The Martian.
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.