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 Cape Verde and from Accra.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 Bremen and Manchester.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 The Velvet Underground to the grunge 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 The Zeros. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Gian Franco Pienzio record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Model 500,
the Soft Cell,
Glenn Branca,
The Young Rascals,
La Düsseldorf,
The Monks,
Bobby Womack,
The Smoke,
The Angels of Light,
These Immortal Souls,
Fear,
Bauhaus,
Barclay James Harvest,
The Mojo Men,
the Bar-Kays,
CMW,
John Holt,
Isaac Hayes,
The Black Dice,
Be Bop Deluxe,
Drexciya,
Dead Boys,
The Techniques,
The Sisters of Mercy,
Slave,
Hot Snakes,
Cabaret Voltaire,
Thompson Twins,
the Swans,
Richard Hell and the Voidoids,
cv313,
Sandy B,
Crooked Eye,
Kevin Saunderson,
The Grass Roots,
Agent Orange,
Alice Coltrane,
Johnny Clarke,
Donny Hathaway,
The Selecter,
Carl Craig,
Beasts of Bourbon,
X-102,
Wolf Eyes,
Brass Construction,
Todd Rundgren,
Bang on a Can All-Stars,
Leonard Cohen,
the Fania All-Stars,
The Blues Magoos,
Liliput,
The Cramps,
Kool Moe Dee,
Danielle Patucci,
Mr. Review,
the Sonics,
Joyce Sims,
Soul II Soul,
Shoche,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.