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 Qatar and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Portland.
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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Aswad to the grunge 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 The Royal Family And The Poor. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
The Monks,
Blossom Toes,
Bobby Byrd,
Peter and Kerry,
John Holt,
Kurtis Blow,
Babytalk,
Glambeats Corp.,
The Slits,
Severed Heads,
Delon & Dalcan,
cv313,
The Fortunes,
Jeff Mills,
Scrapy,
The Modern Lovers,
Fad Gadget,
Toni Rubio,
Fatback Band,
Jerry's Kids,
Intrusion,
A Flock of Seagulls,
Maurizio,
Rhythm & Sound,
Schoolly D,
the Sonics,
The Barracudas,
Lalann,
The Raincoats,
Swans,
Simply Red,
Captain Beefheart & His Magic Band,
Accadde A,
Vainqueur,
This Heat,
The Star Department,
Cecil Taylor,
Fluxion,
The Dead C,
Cybotron,
Ultimate Spinach,
The Sonics,
Roger Hodgson,
Tommy Roe,
Matthew Bourne,
Depeche Mode,
Black Pus,
Interpol,
Lalo Schifrin,
Nas,
The Saints,
Howard Jones,
Nils Olav,
Colin Newman,
Lou Christie,
Icehouse,
Ralphi Rosario,
Quando Quango,
Sun Ra,
Vaughan Mason & Crew,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.