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 Lithuania and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Jakarta 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 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 Davy DMX to the techno kids.
I played it at the Roxy.
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 Stooges. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Matthew Bourne,
The Moody Blues,
Depeche Mode,
Bizarre Inc.,
Ice-T,
Essential Logic,
Marmalade,
Cheater Slicks,
The Motions,
DJ Sneak,
Grandmaster Flash,
Susan Cadogan,
Tears for Fears,
Boogie Down Productions,
Cecil Taylor,
Scratch Acid,
Agitation Free,
Pagans,
Qualms,
Duran Duran,
Sight & Sound,
Nation of Ulysses,
The Fire Engines,
Nas,
Anakelly,
Nico,
Sad Lovers and Giants,
Barrington Levy,
LL Cool J,
Desert Stars,
Eurythmics,
Young Marble Giants,
Eve St. Jones,
Hot Snakes,
Lou Christie,
Magazine,
The Pop Group,
Symarip,
Unwound,
Suburban Knight,
The West Coast Pop Art Experimental Band,
The Young Rascals,
The Cosmic Jokers,
Pole,
Sex Pistols,
Mad Mike,
Yaz,
Ultramagnetic MC's,
Quando Quango,
Scion,
Ultimate Spinach,
Siouxsie and the Banshees,
Ornette Coleman,
Peter Gordon & Love of Life Orchestra,
Bill Near,
The Chocolate Watch Band,
Aaron Thompson,
Eric Dolphy,
The Mummies,
The Detroit Cobras,
Malaria!,
The Fugs, The Fugs, The Fugs, The Fugs.
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.