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 Belgium and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Mexico City 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Stetsasonic to the techno 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 Fortunes. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Cosmic Jokers,
The Sisters of Mercy,
Pete Rock & C.L. Smooth,
Ludus,
Parry Music,
the Germs,
Lafayette Afro Rock Band,
June Days,
Q65,
The Chocolate Watch Band,
The Detroit Cobras,
Drexciya,
Wighnomy Brothers & Robag Wruhme,
Harmonia,
The Index,
The Doobie Brothers,
Juan Atkins,
Popol Vuh,
Todd Terry,
Black Sheep,
In Retrospect,
Mr. Review,
Nirvana,
Ornette Coleman,
Harpers Bizarre,
Japan,
Half Japanese,
Gian Franco Pienzio,
Boogie Down Productions,
Amon Düül II,
Bobby Sherman,
Glenn Branca,
Bill Near,
B.T. Express,
Stiv Bators,
Gary Puckett & The Union Gap,
Todd Rundgren,
E-Dancer,
Larry & the Blue Notes,
Mad Mike,
Essential Logic,
Carl Craig,
Mars,
Dead Boys,
The Dirtbombs,
The Electric Prunes,
Morten Harket,
La Düsseldorf,
Lonnie Liston Smith,
Roger Hodgson,
Avey Tare & Kría Brekkan,
Tubeway Army,
Marmalade,
Rhythim Is Rhythim,
Minor Threat,
Peter & Gordon,
Siglo XX,
Bizarre Inc.,
The Names,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.