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 Finland and from Delhi.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Winnipeg 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Morten Harket to the rock 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 Clear Light. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Avey Tare's Slasher Flicks,
Marshall Jefferson,
Excepter,
Scratch Acid,
Rhythim Is Rhythim,
The Tremeloes,
Vaughan Mason & Crew,
Yusef Lateef,
Spandau Ballet,
The Fall,
Niagra,
The Jesus and Mary Chain,
Gary Puckett & The Union Gap,
Sonic Youth,
Unrelated Segments,
New Age Steppers,
Shuggie Otis,
Bluetip,
The Motions,
LL Cool J,
The Zeros,
The Velvet Underground,
Tubeway Army,
Alice Coltrane,
Reagan Youth,
Lee Hazlewood,
Delon & Dalcan,
The Busters,
The Index,
The Blues Magoos,
Minutemen,
Bad Manners,
Desert Stars,
The Human League,
Skaos,
Scion,
World's Most,
the Human League,
Traffic Nightmare,
The Selecter,
Matthew Halsall,
Soft Machine,
Al Stewart,
Grandmaster Flash and the Furious Five,
Popol Vuh,
Soft Cell,
Hoover,
Maurizio,
Stiv Bators,
Grey Daturas,
Davy DMX,
Slick Rick,
Deepchord,
Royal Trux,
Icehouse,
Camberwell Now,
Marc Romboy vs. Booka Shade,
The Last Poets,
The Invisible,
Rosa Yemen,
Lonnie Liston Smith,
Howard Jones,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.