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 Nicaragua and from Philadelphia.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Milan 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Sonny Sharrock to the funk kids.
I played it at the 40 Watt.
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 H. Thieme. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every The Cure 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 '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Aural Exciters,
Agent Orange,
Suburban Knight,
Roger Hodgson,
Organ,
Siouxsie and the Banshees,
cv313,
The Mummies,
Warren Ellis,
Scrapy,
Jeff Lynne,
the Slits,
Thinking Fellers Union Local 282,
Sixth Finger,
These Immortal Souls,
U.S. Maple,
The Cowsills,
Glenn Branca,
Main Source,
Sällskapet,
Mars,
Audionom,
Zapp,
Heavy D & The Boyz,
Quantec,
Connie Case,
Ituana,
Japan,
Barclay James Harvest,
Oppenheimer Analysis,
Oblivians,
Matthew Bourne,
Gary Puckett & The Union Gap,
Be Bop Deluxe,
The Stooges,
Terrestrial Tones,
Motorama,
Gian Franco Pienzio,
FM Einheit,
The Raincoats,
Arthur Verocai,
Bill Near,
Stereo Dub,
Infiniti,
The Names,
Dark Day,
Lonnie Liston Smith,
Ossler,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Sticky Fingaz feat. Raekwon,
Mandrill,
Kings Of Tomorrow,
Josef K,
Cluster,
This Heat,
Iggy Pop,
Hasil Adkins,
Eden Ahbez,
Angels of Light & Akron/Family,
The Blackbyrds,
10cc, 10cc, 10cc, 10cc.
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.