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 Laos and from Lille.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Cluster to the jazz 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Lightning Bolt,
The Alarm Clocks,
Sun City Girls,
Erykah Badu,
Visage,
Severed Heads,
Mad Mike,
Das Ding,
Godley & Creme,
The Knickerbockers,
Drexciya,
Faust,
Joey Negro,
Negative Approach,
Supertramp,
Oneida,
Gary Puckett & The Union Gap,
Suburban Knight,
Liliput,
London Community Gospel Choir,
The Walker Brothers,
Underground Resistance,
Lou Reed,
Bluetip,
Juan Atkins,
Ronnie Foster,
The Real Kids,
Ajijia Myrayebe,
Bootsy Collins,
Bizarre Inc.,
Skriet,
Crime,
Television Personalities,
Bob Dylan,
Minutemen,
Rufus Thomas,
Major Organ And The Adding Machine,
The Standells,
The Happenings,
Soul Sonic Force,
48th St. Collective,
Howard Jones,
Monolake,
Liaisons Dangereuses,
Easy Going,
Soft Cell,
La Düsseldorf,
Derrick May,
World's Most,
Rotary Connection,
K-Klass,
Tears for Fears,
The Detroit Cobras,
the Human League,
Young Marble Giants,
Bootsy's Rubber Band,
Malaria!,
Marcia Griffiths,
Boredoms,
John Cale,
Ohio Players,
Clear Light, Clear Light, Clear Light, Clear Light.
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.