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 Belarus and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Salvador 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 organ 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 Ice-T to the jazz 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 Josef K. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Deepchord,
The Monochrome Set,
Pantaleimon,
Q and Not U,
Scott Walker,
The Happenings,
MC5,
Essential Logic,
Desert Stars,
Grauzone,
Hardrive,
Saccharine Trust,
Soul Sonic Force,
Theoretical Girls,
Slick Rick,
Warsaw,
Intrusion,
New Age Steppers,
Sight & Sound,
Parry Music,
Zapp,
Unrelated Segments,
Vladislav Delay,
Rod Modell,
Erasure,
Donny Hathaway,
FM Einheit,
Larry & the Blue Notes,
Kauko Röyhkä ja Narttu,
Gerry Rafferty,
New York Dolls,
Rites of Spring,
Sixth Finger,
Rahsaan Roland Kirk,
Marshall Jefferson,
Michelle Simonal,
Wire,
Kerri Chandler,
The Blackbyrds,
the Association,
Sugar Minott,
Drexciya,
Joe Smooth,
Interpol,
Lee Hazlewood,
Porter Ricks,
Johnny Osbourne,
the Soft Cell,
Organ,
Bill Near,
Nik Kershaw,
Arcadia,
Television,
Ponytail,
The Saints,
Black Bananas,
Funky Four + One,
Cal Tjader,
Matthew Halsall,
The Gun Club,
Tres Demented,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.