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 Uzbekistan and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Paris 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 Moss Icon to the punk 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 Q65. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Johnny Osbourne,
Kings Of Tomorrow,
Rod Modell,
Warsaw,
Junior Murvin,
June Days,
Jacob Miller,
The United States of America,
Tommy Roe,
Lou Christie,
Frankie Knuckles,
Stereo Dub,
Accadde A,
Albert Ayler,
Flamin' Groovies,
Hardrive,
Marshall Jefferson,
Lyres,
Lalo Schifrin,
Brick,
Lucky Dragons,
Bad Manners,
Freddie Wadling,
The Cowsills,
Soul Sonic Force,
Pagans,
Anakelly,
Teenage Jesus and the Jerks,
Wolf Eyes,
The Evens,
The Last Poets,
The Index,
Heavy D & The Boyz,
Gastr Del Sol,
Robert Görl,
Deakin,
Royal Trux,
Loose Ends,
Scion,
Fugazi,
Strawberry Alarm Clock,
Brothers Johnson,
Black Flag,
Marine Girls,
Fifty Foot Hose,
Matthew Bourne,
The Monochrome Set,
Essential Logic,
Shuggie Otis,
Bronski Beat,
Ultravox,
Henry Cow,
The Grass Roots,
Ajijia Myrayebe,
The Selecter,
Scan 7,
Donny Hathaway,
The Pretty Things,
Lungfish,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.