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 Switzerland and from Hong Kong.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Lyon 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Eyeless In Gaza to the punk 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 Avey Tare. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every H. Thieme 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Grandmaster Flash and the Furious Five,
Sarah Menescal,
Richard Hell and the Voidoids,
Art Ensemble Of Chicago,
Arab on Radar,
Blossom Toes,
Lightning Bolt,
Tropical Tobacco,
Funky Four + One,
Pere Ubu,
The Chocolate Watch Band,
Todd Rundgren,
Clear Light,
The Cosmic Jokers,
Nas,
The Knickerbockers,
Scientists,
Robert Wyatt,
The Standells,
Curtis Mayfield,
The Black Dice,
Soft Cell,
Wally Richardson,
Moby Grape,
It's A Beautiful Day,
Con Funk Shun,
Y Pants,
Robert Hood,
Gil Scott Heron,
Connie Case,
Carl Craig,
The Dave Clark Five,
The Fuzztones,
Eli Mardock,
Alton Ellis,
Intrusion,
Terrestrial Tones,
Mantronix,
The Cure,
Mission of Burma,
Eve St. Jones,
Goldenarms,
Visionaries,LMNO, T- Love & Iriscience,
the Normal,
Negative Approach,
Rekid,
Model 500,
a-ha,
Joe Smooth,
Altered Images,
The Invisible,
Sound Behaviour,
Skriet,
Soul Sonic Force,
Lee Hazlewood,
Vaughan Mason & Crew,
Radiohead,
London Community Gospel Choir,
Roy Ayers,
Tomorrow,
Sad Lovers and Giants,
Stereo Dub,
Quadrant,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.