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 Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Beijing.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 Freddie Wadling to the jazz 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 Avey Tare's Slasher Flicks. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
The Dead C,
Sam Rivers,
Terror Squad Feat. Camron,
The Dirtbombs,
Funkadelic,
Anakelly,
The Litter,
Laurel Aitken,
Ajijia Myrayebe,
Loose Ends,
The Remains,
Lafayette Afro Rock Band,
Dual Sessions,
R.M.O.,
The Motions,
T.S.O.L.,
a-ha,
Leonard Cohen,
The Angels of Light,
the Normal,
Kings Of Tomorrow,
Sun Ra,
John Foxx,
H. Thieme,
Young Marble Giants,
Eve St. Jones,
The Move,
Peter & Gordon,
the Soft Cell,
Gang Gang Dance,
Rhythim Is Rhythim,
The Star Department,
the Fania All-Stars,
The Walker Brothers,
Traffic Nightmare,
Supertramp,
Derrick May,
The Human League,
Swell Maps,
The Detroit Cobras,
The Sisters of Mercy,
The Standells,
Bobby Womack,
Gil Scott-Heron and Jamie xx,
U.S. Maple,
Los Fastidios,
Peter and Kerry,
Fela Kuti,
Gabor Szabo,
Liliput,
Model 500,
Flash Fearless,
The Kinks,
The Doobie Brothers,
The American Breed,
Scott Walker + Sunn O))),
Lyres,
the Human League,
Ten City,
The Dave Clark Five,
Todd Rundgren,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.