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 Chad and from Lille.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Tehran.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when David Bowie 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 World's Most to the grime kids.
I played it at the 40 Watt.
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 Motions. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
The American Breed,
Judy Mowatt,
The Moody Blues,
The Detroit Cobras,
World's Most,
Marine Girls,
Little Man,
Godley & Creme,
The Doobie Brothers,
Richard Hell and the Voidoids,
Nils Olav,
Kenny Larkin,
The Residents,
Desert Stars,
Eric Copeland,
Stereo Dub,
Marmalade,
Dave Gahan,
Byron Stingily,
Archie Shepp,
Derrick May,
Mandrill,
Sugar Minott,
Chris Corsano,
B.T. Express,
Pet Shop Boys,
Peter Gordon & Love of Life Orchestra,
Jeru the Damaja,
The Toasters,
Infiniti,
Lee Hazlewood,
48th St. Collective,
MC5,
Cameo,
Jacques Brel,
H. Thieme,
The Gories,
The Searchers,
Tubeway Army,
Junior Murvin,
Oppenheimer Analysis,
Q and Not U,
X-101,
Ohio Players,
The Blackbyrds,
FM Einheit,
Robert Görl,
Das Ding,
Echospace,
Massinfluence,
Radio Birdman,
the Normal,
Arab on Radar,
Crooked Eye,
The Vogues,
Mo-Dettes,
Echo & the Bunnymen,
Organ,
Ten City,
Shoche,
The Buckinghams,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.