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 Cameroon and from Edmonton.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Mexico City 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 Nile Rodgers 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 Pylon to the grunge kids.
I played it at the Crocodile.
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 Bill Near. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
The Sisters of Mercy,
Alphaville,
Spandau Ballet,
Rosa Yemen,
The United States of America,
A Flock of Seagulls,
T. Rex,
Moby Grape,
Hasil Adkins,
Big Daddy Kane,
Duran Duran,
The Birthday Party,
London Community Gospel Choir,
Vladislav Delay,
Gerry Rafferty,
Skaos,
MC5,
Harry Pussy,
Morten Harket,
Avey Tare's Slasher Flicks,
Wolf Eyes,
Oneida,
Sixth Finger,
Symarip,
Mad Mike,
Derrick May,
Neil Young & Crazy Horse,
Rufus Thomas,
Quadrant,
Minny Pops,
Bootsy Collins,
Sun Ra Arkestra,
Circle Jerks,
Amon Düül,
Sunsets and Hearts,
Todd Terry,
Barclay James Harvest,
The Human League,
Underground Resistance,
The J.B.'s,
Cal Tjader,
The Vogues,
the Soft Cell,
Justin Hinds & The Dominoes,
Accadde A,
Kerri Chandler,
The Gun Club,
Masters at Work,
The Cowsills,
Swell Maps,
The Toasters,
Clear Light,
Chrome,
Joy Division,
Idris Muhammad,
The Slits,
Animal Collective,
Anakelly,
Gian Franco Pienzio,
Scott Walker + Sunn O))),
Manfred Mann's Earth Band,
Rahsaan Roland Kirk,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.