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 Mexico and from Manchester.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Madrid 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 clarinet 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 LL Cool J to the electroclash 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 Brass Construction. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Schoolly D,
Electric Light Orchestra,
The Jesus and Mary Chain,
Ultramagnetic MC's,
Iggy Pop,
The Slackers,
Rowland S Howard / Lydia Lunch,
Brass Construction,
The Residents,
The Toasters,
Radiohead,
Kerrie Biddell,
Funkadelic,
Stockholm Monsters,
The Wake,
Eddi Front,
Quantec,
Fear,
Country Teasers,
T.S.O.L.,
Mark Hollis,
Sexual Harrassment,
Cabaret Voltaire,
Eric Dolphy,
Zapp,
Orchestral Manoeuvres in the Dark,
Jeff Mills,
The Fortunes,
Harpers Bizarre,
Sister Nancy,
Letta Mbulu,
Gichy Dan,
The Names,
Jesper Dahlback,
Scan 7,
Matthew Bourne,
Ultra Naté,
B.T. Express,
Graham Central Station,
the Bar-Kays,
The Shadows of Knight,
Eden Ahbez,
The Litter,
KRS-One,
Avey Tare's Slasher Flicks,
Cal Tjader,
Amon Düül,
John Foxx,
The Gap Band,
The Searchers,
Ultravox,
Index,
Pere Ubu,
Todd Terry,
Ituana,
Cybotron,
The Modern Lovers,
Kool G Rap & DJ Polo,
Nick Cave & The Bad Seeds,
The Moody Blues,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.