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 Belize and from Glasgow.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
I'm losing my edge to the art-school New York 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 Big Star practice in a loft in Memphis.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Monolake to the disco kids.
I played it at Trash.
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 Pylon. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Ornette Coleman 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
The Doobie Brothers,
Glenn Branca,
Dead Boys,
Jandek,
Magma,
Oneida,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hasil Adkins,
Teenage Jesus and the Jerks,
Sister Nancy,
Cameo,
Pylon,
John Cale,
Kayak,
Eyeless In Gaza,
Magazine,
The Pop Group,
Junior Murvin,
Drexciya,
Slick Rick,
Minny Pops,
Smog,
Accadde A,
The American Breed,
Japan,
MDC,
Ossler,
Sound Behaviour,
Moebius,
Vladislav Delay,
Unrelated Segments,
Dual Sessions,
De La Soul & Jungle Brothers,
Andrew Ashong & Theo Parrish,
It's A Beautiful Day,
X-Ray Spex,
The Jesus and Mary Chain,
Prince Buster,
Fifty Foot Hose,
Crispian St. Peters,
The Misunderstood,
Archie Shepp,
Pharoah Sanders,
Selector Dub Narcotic,
Mars,
Scientists,
Tom Boy,
Howard Jones,
The Cramps,
Drive Like Jehu,
Severed Heads,
The Names,
Babytalk,
Larry & the Blue Notes,
Skarface,
Byron Stingily,
The Dirtbombs,
Leonard Cohen,
JFA,
Peter Gordon & Love of Life Orchestra,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.