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 Ecuador and from Edmonton.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 the Normal to the crunk kids.
I played it at Cafe Wha.
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 Schoolly D. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oneida,
Lee Hazlewood,
Boogie Down Productions,
Cameo,
Agitation Free,
UT,
Colin Newman,
Khruangbin,
Scott Walker,
Lindisfarne,
Grey Daturas,
Kas Product,
Soulsonic Force,
H. Thieme,
Reagan Youth,
The Selecter,
Bizarre Inc.,
Orchestral Manoeuvres in the Dark,
Popol Vuh,
Junior Murvin,
Lungfish,
Morten Harket,
Sonic Youth,
June Days,
Camberwell Now,
June of 44,
Sun Ra,
Marmalade,
The West Coast Pop Art Experimental Band,
Rowland S Howard / Lydia Lunch,
Jacques Brel,
Nick Fraelich,
Spoonie Gee,
Bill Near,
Al Stewart,
Mission of Burma,
John Coltrane,
Sällskapet,
The Alarm Clocks,
Public Enemy,
Suburban Knight,
Sonny Sharrock,
Sexual Harrassment,
Essential Logic,
Newcleus,
Be Bop Deluxe,
Eric B and Rakim,
The Fugs,
Byron Stingily,
The Shadows of Knight,
Soft Cell,
Ornette Coleman,
Gil Scott-Heron & Brian Jackson,
Sight & Sound,
The Blues Magoos,
Qualms,
The Modern Lovers,
Parry Music, Parry Music, Parry Music, Parry Music.
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.