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 Spain and from Bremen.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Taipei 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Maurizio to the grime kids.
I played it at the Hacienda.
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 Japan. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
The Doors,
Gang Starr,
Anthony Braxton,
Curtis Mayfield,
Spandau Ballet,
The Gun Club,
Second Layer,
Erasure,
Ice-T,
Rakim,
Vainqueur,
The Red Krayola,
Stiv Bators,
Ash Ra Tempel,
New York Dolls,
Surgeon,
Loose Ends,
Junior Murvin,
Carl Craig,
Kerrie Biddell,
Bootsy Collins,
Lucky Dragons,
T.S.O.L.,
ABBA,
The Victims,
Warren Ellis,
cv313,
DJ Sneak,
Albert Ayler,
Shuggie Otis,
Gerry Rafferty,
Boogie Down Productions,
Black Flag,
MDC,
Slick Rick,
Urselle,
One Last Wish,
Johnny Clarke,
Subhumans,
Warsaw,
Janne Schatter,
Y Pants,
a-ha,
In Retrospect,
Flipper,
Monolake,
Quadrant,
Sun Ra Arkestra,
Eve St. Jones,
Pet Shop Boys,
Section 25,
Godley & Creme,
The Royal Family And The Poor,
Bobby Byrd,
Sonic Youth,
Crispy Ambulance,
Rhythim Is Rhythim,
Grandmaster Flash and the Furious Five,
World's Most,
Roy Ayers,
Delon & Dalcan,
The Monks, The Monks, The Monks, The Monks.
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.