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 Guyana and from Sao Paulo.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Beijing 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 1971 at the first Selda practice in a loft in Istanbul.
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 Scan 7 to the techno kids.
I played it at CBGB's.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Gang Green 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Eyeless In Gaza,
Derrick Morgan,
Wolf Eyes,
Country Joe & The Fish,
Monolake,
Japan,
Ralphi Rosario,
Rekid,
Soft Machine,
New York Dolls,
Second Layer,
The Offenders,
Charles Mingus,
MC5,
Kings Of Tomorrow,
Amon Düül II,
The Cramps,
Curtis Mayfield,
The Red Krayola,
Gary Puckett & The Union Gap,
Lou Reed,
Jeff Lynne,
Ash Ra Tempel,
Junior Murvin,
Lalann,
Grauzone,
Minny Pops,
Marvin Gaye,
Gregory Isaacs,
The Litter,
Skriet,
Delon & Dalcan,
Jeru the Damaja,
Surgeon,
Lebanon Hanover,
The Slits,
Don Cherry,
Avey Tare's Slasher Flicks,
Masters at Work,
Pierre Henry,
Brothers Johnson,
Eurythmics,
Shoche,
Kas Product,
It's A Beautiful Day,
The Grass Roots,
The Angels of Light,
Ultra Naté,
Talk Talk,
Lindisfarne,
The Cure,
The Tremeloes,
Marmalade,
Rhythm & Sound,
Circle Jerks,
Ossler,
Guru Guru,
Alison Limerick,
The Zeros,
Minutemen,
Ajijia Myrayebe,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.