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 Armenia and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Shanghai 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 Avey Tare to the grunge kids.
I played it at the Troubador.
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 The Barracudas. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Richard Hell and the Voidoids,
Danielle Patucci,
The Chocolate Watch Band,
Radio Birdman,
Simply Red,
The Count Five,
Piero Umiliani,
The Dead C,
Saccharine Trust,
Alison Limerick,
Fatback Band,
Jerry's Kids,
Depeche Mode,
Alphaville,
Pere Ubu,
The Royal Family And The Poor,
Gabor Szabo,
Country Teasers,
Crash Course in Science,
Graham Central Station,
David McCallum,
Nils Olav,
Buzzcocks,
Kings Of Tomorrow,
Liliput,
Arthur Verocai,
Pylon,
Selector Dub Narcotic,
Bootsy Collins,
U.S. Maple,
Surgeon,
Lalo Schifrin,
Stereo Dub,
The Motions,
Drive Like Jehu,
Groovy Waters,
These Immortal Souls,
Qualms,
David Axelrod,
Severed Heads,
Royal Trux,
Andrew Hill,
Deadbeat,
Joyce Sims,
Japan,
The West Coast Pop Art Experimental Band,
Vainqueur,
Parry Music,
Jimmy McGriff,
Harry Pussy,
Marc Romboy vs. Booka Shade,
Jeff Mills,
Sandy B,
Yazoo,
The Black Dice,
Pantytec,
Wolf Eyes,
James Chance & The Contortions,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.