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 Zimbabwe and from Paris.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Seoul 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 David Bowie to the techno kids.
I played it at the 40 Watt.
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 Echo & the Bunnymen. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Rowland S Howard / Lydia Lunch,
Stereo Dub,
Public Image Ltd.,
Dark Day,
Unwound,
Rosa Yemen,
Oblivians,
Wasted Youth,
Mary Jane Girls,
Anthony Braxton,
Soul Sonic Force,
Stetsasonic,
Country Teasers,
Peter and Kerry,
Junior Murvin,
Fatback Band,
The Standells,
Connie Case,
John Holt,
Shoche,
Frankie Knuckles,
The Cowsills,
Sonny Sharrock,
The American Breed,
Deakin,
Andrew Ashong & Theo Parrish,
Roy Ayers,
Nick Cave & The Bad Seeds,
Saccharine Trust,
Sugar Minott,
Blake Baxter,
Peter Gordon & Love of Life Orchestra,
Schoolly D,
Althea and Donna,
New Order,
Derrick Morgan,
Kool Moe Dee,
Pierre Henry,
Glambeats Corp.,
The Velvet Underground,
Underground Resistance,
Pagans,
Gary Puckett & The Union Gap,
Gang of Four,
The Evens,
Vladislav Delay,
Jacob Miller,
Byron Stingily,
Index,
Oppenheimer Analysis,
Kauko Röyhkä ja Narttu,
Todd Terry,
Brass Construction,
Andrew Hill,
Barbara Tucker,
John Lydon,
Johnny Osbourne,
F. McDonald,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.