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 Djibouti and from Shanghai.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Woodstock 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Neil Young to the grime 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 Al Stewart. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Bobby Sherman 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Index,
Wolf Eyes,
The Searchers,
Ornette Coleman,
Rhythim Is Rhythim,
Eve St. Jones,
Kas Product,
Joe Smooth,
Tubeway Army,
Das Ding,
Tomorrow,
Moby Grape,
Pylon,
Kool G Rap & DJ Polo,
Neil Young & Crazy Horse,
X-Ray Spex,
Dual Sessions,
the Swans,
Big Daddy Kane,
Ultimate Spinach,
Mr. Review,
Essential Logic,
The Music Machine,
Fort Wilson Riot,
Jerry Gold Smith,
Derrick Morgan,
The Evens,
Alice Coltrane,
Sunsets and Hearts,
Soft Cell,
Zero Boys,
Curtis Mayfield,
Visionaries,LMNO, T- Love & Iriscience,
Michelle Simonal,
Warren Ellis,
L. Decosne,
Supertramp,
Liliput,
Glenn Branca,
Ten City,
Dead Boys,
Andrew Hill,
Godley & Creme,
The Doors,
Blake Baxter,
Scientists,
Lyres,
Deakin,
ABBA,
Boredoms,
Eli Mardock,
Severed Heads,
T.S.O.L.,
Echo & the Bunnymen,
Lou Christie,
The Walker Brothers,
Marvin Gaye,
the Germs,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.