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 Colombia and from London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 the Germs to the crunk 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 48th St. Collective. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Gabor Szabo 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Gastr Del Sol,
The Velvet Underground,
Todd Rundgren,
Black Flag,
Rosa Yemen,
Ken Boothe,
Bush Tetras,
Mark Hollis,
Richard Hell and the Voidoids,
Gerry Rafferty,
a-ha,
R.M.O.,
John Lydon,
Gregory Isaacs,
Thinking Fellers Union Local 282,
Tim Buckley,
Khruangbin,
the Soft Cell,
Be Bop Deluxe,
Japan,
Tubeway Army,
John Coltrane,
The Stooges,
Alison Limerick,
Neil Young,
Jacques Brel,
The Gap Band,
Youth Brigade,
Avey Tare's Slasher Flicks,
Swans,
The Motions,
The Move,
Stereo Dub,
Kool G Rap & DJ Polo,
Barry Ungar,
Nils Olav,
June Days,
Crispian St. Peters,
Robert Wyatt,
Röyhkä ja Rättö ja Lehtisalo,
Alice Coltrane,
The Sound,
Frankie Knuckles,
The Monochrome Set,
Crash Course in Science,
Flamin' Groovies,
Joy Division,
Ludus,
Chris Corsano,
Liliput,
Dave Gahan,
Marc Almond,
U.S. Maple,
The Happenings,
Banda Bassotti,
Soft Cell,
cv313,
The Mighty Diamonds,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.