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 Turkey and from Tehran.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Ralphi Rosario to the punk 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 The Techniques. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal funk 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 a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Easy Going,
Vainqueur,
David McCallum,
Country Teasers,
Hoover,
Roxette,
The Dirtbombs,
Art Ensemble Of Chicago,
Surgeon,
Lightning Bolt,
Fatback Band,
48th St. Collective,
Roxy Music,
Ornette Coleman,
Girls At Our Best!,
Cecil Taylor,
Radio Birdman,
Theoretical Girls,
Alison Limerick,
Freddie Wadling,
MC5,
The Doobie Brothers,
Adolescents,
The Star Department,
The Detroit Cobras,
the Fania All-Stars,
Grey Daturas,
Boredoms,
Joe Finger,
Whodini,
T. Rex,
Beasts of Bourbon,
Arthur Verocai,
The Mummies,
The American Breed,
Nas,
X-Ray Spex,
Underground Resistance,
Basic Channel,
Eurythmics,
The Gladiators,
Radiopuhelimet,
Mad Mike,
Liaisons Dangereuses,
Charles Mingus,
The Smiths,
Siouxsie and the Banshees,
Jerry's Kids,
It's A Beautiful Day,
Warren Ellis,
Make Up,
Ohio Players,
Robert Hood,
The Gories,
Animal Collective,
The Fugs,
Sällskapet,
Laurel Aitken,
Loose Ends,
JFA,
Main Source,
a-ha, a-ha, a-ha, a-ha.
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.