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 Serbia and from Toronto.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Houston 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 synthesizer 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 Rapeman to the rock kids.
I played it at the Crocodile.
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 Technova. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Patti Smith 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 '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Inner City,
The Fall,
DNA,
Major Organ And The Adding Machine,
New Age Steppers,
Monks,
The Vogues,
Harmonia,
Porter Ricks,
Warren Ellis,
Rekid,
Popol Vuh,
Jesper Dahlbäck,
the Slits,
Prince Buster,
Marshall Jefferson,
Animal Collective,
Ultramagnetic MC's,
Wighnomy Brothers & Robag Wruhme,
Manfred Mann's Earth Band,
Barry Ungar,
Juan Atkins,
The Sonics,
Magazine,
The Techniques,
Ajijia Myrayebe,
Peter and Kerry,
Angry Samoans,
The Young Rascals,
Cluster,
Ultra Naté,
Scion,
The Mighty Diamonds,
MDC,
Delon & Dalcan,
Roy Ayers Ubiquity,
Mandrill,
Joe Finger,
Alice Coltrane,
Massinfluence,
The Toasters,
John Foxx,
Traffic Nightmare,
The Misunderstood,
Ultravox,
The Fire Engines,
Tres Demented,
Camberwell Now,
The Sound,
The Skatalites,
Ohio Players,
Nik Kershaw,
The Monks,
Aaron Thompson,
The Last Poets,
Richard Hell and the Voidoids,
Sonic Youth,
The Invisible,
Mark Hollis,
Banda Bassotti,
the Normal,
ABC,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.