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 Rwanda and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1977.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 spring reverb 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 Minutemen to the disco 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 Youth Brigade. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Young Marble Giants,
Massinfluence,
Pantaleimon,
Oblivians,
The Dead C,
The Blackbyrds,
The Kinks,
Eddi Front,
Rakim,
The Count Five,
AZ,
Urselle,
Yazoo,
Boredoms,
The Monochrome Set,
Q65,
Amazonics,
Fluxion,
Hasil Adkins,
Skarface,
Lou Reed,
Ituana,
Pagans,
Mandrill,
Lyres,
Judy Mowatt,
Orchestral Manoeuvres in the Dark,
Thinking Fellers Union Local 282,
Skaos,
Graham Central Station,
The United States of America,
The Gun Club,
Delta 5,
Marshall Jefferson,
Altered Images,
Visage,
Pere Ubu,
The Fortunes,
Nico,
Grauzone,
Drexciya,
Zapp,
Hot Snakes,
La Düsseldorf,
Siglo XX,
The Music Machine,
Gabor Szabo,
Wasted Youth,
Sexual Harrassment,
Bobby Hutcherson,
Sly & The Family Stone,
Bluetip,
Sparks,
The Move,
The Men They Couldn't Hang,
Jacques Brel,
Gil Scott-Heron & Brian Jackson,
Faust,
Ohio Players,
Reagan Youth,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.