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 Tunisia and from Glasgow.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Jesper Dahlback to the electroclash 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 Archie Shepp. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Swans 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
The Gladiators,
Roxy Music,
Boredoms,
Nico,
De La Soul & Jungle Brothers,
It's A Beautiful Day,
MDC,
Tropical Tobacco,
Eddi Front,
John Coltrane,
FM Einheit,
Gil Scott-Heron & Brian Jackson,
Maurizio,
Delon & Dalcan,
The Chocolate Watch Band,
The Slackers,
Amon Düül II,
Scrapy,
Bobby Womack,
The Searchers,
The Victims,
The Velvet Underground,
Rites of Spring,
Lightning Bolt,
The Doobie Brothers,
Audionom,
Brand Nubian,
Mo-Dettes,
Sparks,
Camberwell Now,
Sixth Finger,
Robert Görl,
Henry Cow,
Mark Hollis,
Sarah Menescal,
Minor Threat,
Fela Kuti,
Darondo,
The Gap Band,
Skaos,
cv313,
Echospace,
Stereo Dub,
The Motions,
Stockholm Monsters,
Black Flag,
Desert Stars,
Rufus Thomas,
the Swans,
The American Breed,
Crime,
The Tremeloes,
Kauko Röyhkä ja Narttu,
New Order,
Erasure,
Terrestrial Tones,
Depeche Mode,
Eli Mardock,
Patti Smith,
Public Image Ltd.,
Boz Scaggs,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.