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 Jamaica and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in New York and Manchester.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Five Americans to the jazz kids.
I played it at Trash.
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 Don Cherry. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Nirvana 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Ronan,
Peter and Kerry,
Captain Beefheart & His Magic Band,
Wighnomy Brothers & Robag Wruhme,
The Stooges,
Zapp,
Rhythim Is Rhythim,
Masters at Work,
Procol Harum,
The Blues Magoos,
Scott Walker + Sunn O))),
Jacques Brel,
Dorothy Ashby,
Ponytail,
Maleditus Sound,
Nico,
Mantronix,
Godley & Creme,
Robert Wyatt,
Lakeside,
Art Ensemble Of Chicago,
Scratch Acid,
Inner City,
Boogie Down Productions,
Ultra Naté,
Soft Machine,
Yellowson,
Excepter,
The Walker Brothers,
Janne Schatter,
X-Ray Spex,
The Index,
Electric Prunes,
Cymande,
World's Most,
The Detroit Cobras,
The Neon Judgement,
The Trojans,
The Motions,
The Sound,
Electric Light Orchestra,
The Cowsills,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Television Personalities,
Cluster,
Funkadelic,
R.M.O.,
Technova,
Nils Olav,
The Alarm Clocks,
Pere Ubu,
The Fortunes,
Fatback Band,
Freddie Wadling,
Section 25,
Trumans Water,
Average White Band,
Roxette,
Notorious BIG live in Amsterdam,
Shoche, Shoche, Shoche, Shoche.
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.