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 Nicaragua and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 Fat Boys 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 The Standells. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
The Shadows of Knight,
Yaz,
Al Stewart,
Bizarre Inc.,
Pantytec,
Interpol,
Fela Kuti,
Jeff Mills,
Crispy Ambulance,
The Peanut Butter Conspiracy,
The J.B.'s,
Supertramp,
The Vogues,
Howard Jones,
The Flesh Eaters,
Nick Cave & The Bad Seeds,
Metal Thangz,
Underground Resistance,
Absolute Body Control,
Pulsallama,
Deakin,
Faraquet,
Thompson Twins,
Man Parrish,
Nico,
the Human League,
Todd Rundgren,
Rapeman,
Outsiders,
Donald Byrd,
The Searchers,
Joy Division,
Pole,
Magma,
Notorious BIG live in Amsterdam,
Funky Four + One,
Visage,
Drive Like Jehu,
Richard Hell and the Voidoids,
Jesper Dahlback,
The Dave Clark Five,
Minnie Riperton,
Black Flag,
Marmalade,
Joyce Sims,
the Bar-Kays,
Essential Logic,
Super Lover Cee & Casanova Rud,
Grandmaster Flash,
The Techniques,
Ultimate Spinach,
Man Eating Sloth,
In Retrospect,
Silicon Teens,
Curtis Mayfield,
Kango’s Stein Massive,
the Sonics,
It's A Beautiful Day,
Das Ding,
Excepter,
The Chocolate Watch Band,
Kauko Röyhkä ja Narttu,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.