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 Algeria and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Delhi.
I'm losing my edge to the art-school Portland 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 oboe 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 Index to the grunge kids.
I played it at the Roxy.
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 Terrestrial Tones. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every The Fortunes 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Buzzcocks,
Interpol,
Lebanon Hanover,
Fort Wilson Riot,
Youth Brigade,
Wighnomy Brothers & Robag Wruhme,
Major Organ And The Adding Machine,
The Cosmic Jokers,
Deepchord,
Black Pus,
Gerry Rafferty,
Lalann,
John Foxx,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gories,
Siglo XX,
Amazonics,
The Knickerbockers,
Minnie Riperton,
L. Decosne,
Morten Harket,
Connie Case,
This Heat,
The Doors,
Tim Buckley,
Wolf Eyes,
Grandmaster Flash and the Furious Five,
Sarah Menescal,
Alice Coltrane,
Negative Approach,
Urselle,
Peter and Kerry,
Flamin' Groovies,
The Tremeloes,
Kool G Rap & DJ Polo,
Beasts of Bourbon,
Isaac Hayes,
Skriet,
The West Coast Pop Art Experimental Band,
Bob Dylan,
H. Thieme,
Blake Baxter,
Tears for Fears,
Peter & Gordon,
Soul Sonic Force,
Chrome,
B.T. Express,
Liaisons Dangereuses,
Lou Christie,
Freddie Wadling,
New York Dolls,
John Holt,
Pantytec,
The Star Department,
De La Soul & Jungle Brothers,
Letta Mbulu,
Lou Reed,
Glambeats Corp.,
The Mojo Men,
Bush Tetras,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.