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 Paraguay and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school London 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Deutsch Amerikanische Freundschaft to the punk 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 The Slackers. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every The Selecter 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Lou Reed & Metallica,
Glenn Branca,
Moss Icon,
F. McDonald,
Sex Pistols,
The Associates,
Gichy Dan,
The Cowsills,
Todd Terry,
Fela Kuti,
The Dirtbombs,
Little Man,
Babytalk,
Spandau Ballet,
Boredoms,
Red Lorry Yellow Lorry,
Arcadia,
Au Pairs,
Motorama,
Neu!,
The Moleskins,
Richard Hell and the Voidoids,
Fluxion,
Pierre Henry,
Lou Reed & John Cale,
Index,
The Selecter,
Radio Birdman,
Pussy Galore,
The Trojans,
Peter & Gordon,
Kings Of Tomorrow,
Mission of Burma,
Suburban Knight,
Letta Mbulu,
The Vogues,
Monks,
Buzzcocks,
The Mummies,
Basic Channel,
Television Personalities,
Visionaries,LMNO, T- Love & Iriscience,
Bobby Sherman,
The Busters,
Echospace,
Livin' Joy,
Oppenheimer Analysis,
Japan,
Bill Wells,
Bill Near,
Swans,
Talk Talk,
Royal Trux,
Los Fastidios,
Drexciya,
Mad Mike,
The Walker Brothers,
Aloha Tigers,
Anthony Braxton,
Rufus Thomas,
Soul II Soul,
Sandy B, Sandy B, Sandy B, Sandy B.
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.