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 Germany and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Bremen 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 güiro sounds with much patience.
I was there when Lou Reed 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 Fugazi to the techno kids.
I played it at the Troubador.
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 John Cale. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Franke,
U.S. Maple,
Siouxsie and the Banshees,
Tim Buckley,
Cabaret Voltaire,
Selector Dub Narcotic,
Thompson Twins,
The New Christs,
Soft Cell,
8 Eyed Spy,
Barry Ungar,
Skaos,
Jerry's Kids,
Joe Finger,
EPMD,
Howard Jones,
World's Most,
Dark Day,
Oneida,
CMW,
Sticky Fingaz feat. Raekwon,
X-102,
Michelle Simonal,
Wighnomy Brothers & Robag Wruhme,
Mantronix,
Zero Boys,
Maurizio,
Minutemen,
Babytalk,
Harpers Bizarre,
The Moody Blues,
48th St. Collective,
Urselle,
Liliput,
Todd Rundgren,
The Seeds,
Morten Harket,
Ultramagnetic MC's,
Alphaville,
Crispian St. Peters,
Man Eating Sloth,
UT,
Grauzone,
Swans,
Alison Limerick,
Motorama,
Kauko Röyhkä ja Narttu,
The Shadows of Knight,
Kevin Saunderson,
Wings,
Intrusion,
Excepter,
David Bowie,
Robert Görl,
The Young Rascals,
Todd Terry,
Bad Manners,
Pere Ubu,
ABC,
John Cale,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.