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 Guatemala and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 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 Lakeside to the rock 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 Mars. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Lightning Bolt 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Drexciya,
Josef K,
Alice Coltrane,
the Sonics,
ABC,
Scrapy,
The Remains,
Fort Wilson Riot,
Gang Green,
Neu!,
Pere Ubu,
Dennis Brown,
The Sonics,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
The Beau Brummels,
Scion,
Funkadelic,
David Bowie,
Notorious BIG live in Amsterdam,
Nico,
New Age Steppers,
The New Christs,
Mission of Burma,
Robert Görl,
The Techniques,
Todd Rundgren,
Fifty Foot Hose,
Bobbi Humphrey,
Nils Olav,
Aaron Thompson,
Kayak,
Icehouse,
Joensuu 1685,
Glambeats Corp.,
Louis and Bebe Barron,
Manfred Mann's Earth Band,
Delon & Dalcan,
Q65,
the Fania All-Stars,
The Mojo Men,
Goldenarms,
Big Daddy Kane,
The Gories,
Bizarre Inc.,
The Young Rascals,
Chrome,
T.S.O.L.,
Intrusion,
Tears for Fears,
Thompson Twins,
Alton Ellis,
The Vogues,
The Fall,
Ponytail,
Duran Duran,
Albert Ayler,
Roy Ayers,
June of 44,
Steve Hackett,
The Kinks, The Kinks, The Kinks, The Kinks.
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.