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 Switzerland and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Glenn Branca to the techno 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 Cybotron. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Frankie Knuckles 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Sarah Menescal,
Ornette Coleman,
Grandmaster Flash,
Connie Case,
The Standells,
DJ Style,
Steve Hackett,
Joensuu 1685,
Rosa Yemen,
Audionom,
Flash Fearless,
Sparks,
Simply Red,
Roy Ayers,
Alton Ellis,
Deakin,
Eddi Front,
Strawberry Alarm Clock,
Mr. Review,
Fifty Foot Hose,
Siouxsie and the Banshees,
Freddie Wadling,
The Invisible,
Masters at Work,
Morten Harket,
Yazoo,
The Beau Brummels,
Bush Tetras,
Quando Quango,
Bizarre Inc.,
Godley & Creme,
Ten City,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Procol Harum,
Janne Schatter,
Gil Scott-Heron & Brian Jackson,
Goldenarms,
Lou Reed & John Cale,
New York Dolls,
the Normal,
The Zeros,
Notorious Big And Bone Thugs,
Eric Copeland,
Hasil Adkins,
The Durutti Column,
Kango’s Stein Massive,
Maurizio,
Sun Ra Arkestra,
Con Funk Shun,
Althea and Donna,
Leonard Cohen,
Eli Mardock,
Public Image Ltd.,
The Martian,
The Men They Couldn't Hang,
Minutemen,
Newcleus,
The Jesus and Mary Chain,
Tomorrow,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.