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 Equatorial Guinea and from Woodstock.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Joyce Sims to the rap kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Man Eating Sloth,
Laurel Aitken,
London Community Gospel Choir,
Todd Rundgren,
Gastr Del Sol,
The Gap Band,
Joensuu 1685,
Lucky Dragons,
Louis and Bebe Barron,
Ludus,
Sonic Youth,
The Pop Group,
Mars,
Brick,
Drexciya,
Can,
Lee Hazlewood,
Rekid,
Kerrie Biddell,
Piero Umiliani,
Matthew Halsall,
Kevin Saunderson,
Mr. Review,
Lalann,
UT,
Kool Moe Dee,
Jacob Miller,
Half Japanese,
The Seeds,
Bobby Sherman,
R.M.O.,
Lakeside,
The Dead C,
Neu!,
Donald Byrd,
Dawn Penn,
Boredoms,
Morten Harket,
8 Eyed Spy,
The Sound,
Cybotron,
Lyres,
Dennis Brown,
Country Joe & The Fish,
Spandau Ballet,
Negative Approach,
Bang On A Can,
The Real Kids,
Quando Quango,
CMW,
June of 44,
Major Organ And The Adding Machine,
Gil Scott-Heron & Brian Jackson,
The Birthday Party,
The Human League,
Index,
Godley & Creme,
Sad Lovers and Giants,
Scan 7,
Maleditus Sound,
Circle Jerks,
Shoche,
Funky Four + One,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.