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 Slovakia and from Houston.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Houston 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Mark Hollis to the rock kids.
I played it at the Spitz.
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 Swans. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Livin' Joy,
The Toasters,
Larry & the Blue Notes,
Skriet,
Susan Cadogan,
Main Source,
Glenn Branca,
Malaria!,
Lightning Bolt,
Captain Beefheart & His Magic Band,
Eurythmics,
Gastr Del Sol,
Suburban Knight,
Pierre Henry,
The Shadows of Knight,
Oppenheimer Analysis,
Gichy Dan,
The Alarm Clocks,
The Names,
Juan Atkins,
Gil Scott-Heron & Brian Jackson,
Be Bop Deluxe,
The Move,
Minor Threat,
Kurtis Blow,
Amon Düül II,
La Düsseldorf,
Bizarre Inc.,
Skaos,
Deakin,
Second Layer,
48th St. Collective,
Camberwell Now,
Todd Rundgren,
Piero Umiliani,
Soft Cell,
Frankie Knuckles,
Laurel Aitken,
Lalo Schifrin,
The Techniques,
Janne Schatter,
Young Marble Giants,
Metal Thangz,
Sparks,
Girls At Our Best!,
Derrick May,
Radiopuhelimet,
Monolake,
Sun Ra,
Letta Mbulu,
Sad Lovers and Giants,
The Smiths,
Röyhkä ja Rättö ja Lehtisalo,
Wally Richardson,
James Chance & The Contortions,
The Cowsills,
Agitation Free,
Deadbeat,
Radio Birdman,
Marcia Griffiths,
the Swans, the Swans, the Swans, the Swans.
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.