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 Nepal and from Tokyo.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Paris 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 Selda practice in a loft in Istanbul.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Amon Düül to the electroclash 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 Aaron Thompson. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Altered Images record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Youth Brigade,
The Toasters,
Pere Ubu,
Man Parrish,
The Wake,
Hardrive,
Roger Hodgson,
Grauzone,
Deadbeat,
Bush Tetras,
Joy Division,
Ituana,
Maurizio,
Boogie Down Productions,
Jeff Mills,
Sun City Girls,
Radiohead,
Laurel Aitken,
Bluetip,
Reuben Wilson,
The Real Kids,
The Cramps,
The Cowsills,
This Heat,
The Flesh Eaters,
Pagans,
Dorothy Ashby,
The Modern Lovers,
Teenage Jesus and the Jerks,
Bang On A Can,
L. Decosne,
Swell Maps,
Toni Rubio,
Minnie Riperton,
Soft Cell,
Ultramagnetic MC's,
Stereo Dub,
T. Rex,
Pete Rock & C.L. Smooth,
Carl Craig,
Joyce Sims,
Lyres,
Lower 48,
Mo-Dettes,
Oblivians,
the Association,
The Barracudas,
Soul II Soul,
Kas Product,
Sunsets and Hearts,
Lalann,
Bang on a Can All-Stars,
The Busters,
Prince Buster,
Country Joe & The Fish,
Infiniti,
The Moody Blues,
Drive Like Jehu,
The Dave Clark Five,
Theoretical Girls,
David McCallum,
Juan Atkins,
the Slits, the Slits, the Slits, the Slits.
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.