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 Swaziland and from Portland.
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 1975.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 808 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 Gian Franco Pienzio to the disco kids.
I played it at the Spitz.
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 Adolescents. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Nick Fraelich,
Wally Richardson,
Crispy Ambulance,
Parry Music,
Suicide,
Can,
The Fire Engines,
Brick,
Lafayette Afro Rock Band,
Sonic Youth,
The Tremeloes,
Sällskapet,
Oblivians,
Vladislav Delay,
Arcadia,
Ultimate Spinach,
Alphaville,
Sexual Harrassment,
The Skatalites,
Dual Sessions,
the Fania All-Stars,
Blossom Toes,
Popol Vuh,
Ludus,
Intrusion,
Magma,
DJ Sneak,
Lou Christie,
the Association,
Trumans Water,
Camberwell Now,
Minutemen,
Hasil Adkins,
The Monochrome Set,
Junior Murvin,
Joy Division,
Colin Newman,
48th St. Collective,
Moebius,
Malaria!,
Kas Product,
The Raincoats,
Freddie Wadling,
One Last Wish,
Red Lorry Yellow Lorry,
X-101,
Inner City,
Ultramagnetic MC's,
Rahsaan Roland Kirk,
Dead Boys,
Soft Machine,
Zapp,
Eric Dolphy,
The West Coast Pop Art Experimental Band,
Schoolly D,
Lyres,
Sonny Sharrock,
Neu!,
Mary Jane Girls,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.