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 Italy and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba 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 Siouxsie and the Banshees to the disco kids.
I played it at the Hacienda.
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 Quando Quango. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every the Slits 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Justin Hinds & The Dominoes,
Alice Coltrane,
Albert Ayler,
The Standells,
Echo & the Bunnymen,
Tears for Fears,
X-101,
Nation of Ulysses,
Lebanon Hanover,
The Vogues,
Joe Finger,
The Cowsills,
Faraquet,
Godley & Creme,
Deepchord,
Alton Ellis,
Liliput,
The Black Dice,
Drive Like Jehu,
Ludus,
Bizarre Inc.,
Morten Harket,
The Happenings,
Big Daddy Kane,
Gang Green,
Ronan,
Zapp,
Soft Machine,
Gary Puckett & The Union Gap,
Wire,
Bobby Sherman,
Japan,
Electric Prunes,
Visionaries,LMNO, T- Love & Iriscience,
John Cale,
Todd Terry,
Barbara Tucker,
Sticky Fingaz feat. Raekwon,
David Bowie,
Wighnomy Brothers & Robag Wruhme,
Louis and Bebe Barron,
Kings Of Tomorrow,
Mo-Dettes,
Youth Brigade,
Roger Hodgson,
Bang On A Can,
Bauhaus,
Wasted Youth,
Tim Buckley,
Chrome,
Steve Hackett,
Girls At Our Best!,
48th St. Collective,
Country Joe & The Fish,
Barry Ungar,
Von Mondo,
Yazoo,
Nico,
Susan Cadogan,
the Germs, the Germs, the Germs, the Germs.
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.