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 Gambia and from Copenhagen.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Tehran 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Scan 7 to the electroclash kids.
I played it at the Roxy.
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 Fugazi. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Traffic Nightmare,
Suburban Knight,
Godley & Creme,
UT,
Sight & Sound,
Dead Boys,
Althea and Donna,
Roy Ayers Ubiquity,
Anakelly,
Subhumans,
Symarip,
Flash Fearless,
E-Dancer,
Theoretical Girls,
Bizarre Inc.,
The Durutti Column,
Gian Franco Pienzio,
Bang On A Can,
Joyce Sims,
Franke,
Young Marble Giants,
Marshall Jefferson,
Gary Puckett & The Union Gap,
Vaughan Mason & Crew,
Echo & the Bunnymen,
Johnny Clarke,
The Fire Engines,
Aural Exciters,
Average White Band,
ABC,
Deakin,
Neil Young & Crazy Horse,
Heaven 17,
Sound Behaviour,
Soft Machine,
Lee Hazlewood,
Alison Limerick,
Scott Walker,
The West Coast Pop Art Experimental Band,
Smog,
Joe Finger,
Livin' Joy,
Roy Ayers,
Alton Ellis,
Fluxion,
Whodini,
Gastr Del Sol,
The Zeros,
Jerry Gold Smith,
Frankie Knuckles,
Manfred Mann's Earth Band,
The Birthday Party,
Boz Scaggs,
June of 44,
John Cale,
Negative Approach,
The Martian,
Idris Muhammad,
Rapeman,
Grauzone,
The Index,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.