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 Bangladesh and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school Columbus 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 arpeggiator 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 Todd Rundgren to the jazz 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 Can. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Masters at Work 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 '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Public Enemy,
Albert Ayler,
Moebius,
Big Daddy Kane,
China Crisis,
Richard Hell and the Voidoids,
Arthur Verocai,
The Count Five,
Heavy D & The Boyz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
Mary Jane Girls,
Magma,
Rahsaan Roland Kirk,
Johnny Clarke,
Rhythim Is Rhythim,
Lucky Dragons,
Tears for Fears,
Dead Boys,
E-Dancer,
Sight & Sound,
Main Source,
The Velvet Underground,
Gil Scott-Heron and Jamie xx,
the Swans,
Judy Mowatt,
The Detroit Cobras,
Lou Reed & John Cale,
Scott Walker,
Marvin Gaye,
Thinking Fellers Union Local 282,
John Lydon,
New Order,
Nirvana,
Eurythmics,
Quadrant,
Liaisons Dangereuses,
Aloha Tigers,
Fort Wilson Riot,
48th St. Collective,
Bad Manners,
The Jesus and Mary Chain,
Iggy Pop,
Pierre Henry,
Theoretical Girls,
Man Parrish,
A Flock of Seagulls,
Joyce Sims,
The Fall,
David McCallum,
The Red Krayola,
Scrapy,
Sonny Sharrock,
Harry Pussy,
Steve Hackett,
Electric Light Orchestra,
The Misunderstood,
Aural Exciters,
Lalann,
Mr. Review,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.