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 China and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 Lou Reed & John Cale to the punk kids.
I played it at the Crocodile.
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 Faraquet. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Janne Schatter,
Rekid,
Kerri Chandler,
Sarah Menescal,
Ituana,
Mr. Review,
Niagra,
Shuggie Otis,
Negative Approach,
Eyeless In Gaza,
Joensuu 1685,
Kaleidoscope,
the Association,
Jeff Mills,
Chris & Cosey,
Babytalk,
the Swans,
Bad Manners,
Pole,
The Sound,
Infiniti,
Pulsallama,
Laurel Aitken,
F. McDonald,
the Sonics,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Real Kids,
Sex Pistols,
These Immortal Souls,
Marcia Griffiths,
Section 25,
The Durutti Column,
Whodini,
Dark Day,
Black Bananas,
Los Fastidios,
Gang Green,
Manfred Mann's Earth Band,
Jandek,
Aaron Thompson,
Frankie Knuckles,
Siouxsie and the Banshees,
Ultimate Spinach,
Lou Christie,
Banda Bassotti,
Arthur Verocai,
Eric Dolphy,
Spandau Ballet,
the Fania All-Stars,
The Star Department,
Liliput,
Mark Hollis,
Terrestrial Tones,
Ten City,
OOIOO,
Spoonie Gee,
David Axelrod,
Peter Gordon & Love of Life Orchestra,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Standells,
Jeru the Damaja,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.