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 Peru and from Milan.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1979.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Tehran 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 theremin 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 Rites of Spring to the punk 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 Hasil Adkins. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Public Enemy,
Faraquet,
Urselle,
Junior Murvin,
The Busters,
Carl Craig,
Roy Ayers,
This Heat,
The United States of America,
Shoche,
the Normal,
Zero Boys,
The Peanut Butter Conspiracy,
The J.B.'s,
Ice-T,
Faust,
The Five Americans,
kango's stein massive,
Circle Jerks,
Bronski Beat,
Brothers Johnson,
The Pretty Things,
Black Flag,
The Neon Judgement,
Lou Reed & Metallica,
The Martian,
Joe Finger,
The Motions,
Tears for Fears,
Flipper,
The Toasters,
Franke,
The Buckinghams,
Malaria!,
Pharoah Sanders,
Sandy B,
Marshall Jefferson,
Marvin Gaye,
The Divine Comedy,
Slick Rick,
Oneida,
The Raincoats,
Derrick May,
CMW,
Depeche Mode,
Ohio Players,
Steve Hackett,
Oppenheimer Analysis,
Gichy Dan,
Grauzone,
Terry Callier,
Bluetip,
The Fortunes,
Lyres,
John Cale,
The Searchers,
Gong,
Gil Scott-Heron & Brian Jackson,
David McCallum,
ABC,
OOIOO,
Underground Resistance,
Cluster, Cluster, Cluster, Cluster.
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.