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 Eritrea and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Portland 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 John Lydon to the jazz 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 Sandy B. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Captain Beefheart & His Magic Band,
Reuben Wilson,
Yaz,
Television,
Rhythm & Sound,
Joensuu 1685,
De La Soul & Jungle Brothers,
The Raincoats,
Black Flag,
Bauhaus,
Intrusion,
Spandau Ballet,
the Germs,
Gil Scott Heron,
Eyeless In Gaza,
The Blackbyrds,
Rhythim Is Rhythim,
Chris Corsano,
Bad Manners,
Ossler,
Pierre Henry,
Eli Mardock,
Porter Ricks,
Amon Düül,
Outsiders,
Scientists,
Red Lorry Yellow Lorry,
Bluetip,
Alphaville,
Bill Wells,
The Young Rascals,
Faraquet,
Teenage Jesus and the Jerks,
The Royal Family And The Poor,
Lalann,
48th St. Collective,
Larry & the Blue Notes,
Althea and Donna,
CMW,
Lightning Bolt,
Grauzone,
The Pop Group,
Silicon Teens,
KRS-One,
Accadde A,
Wally Richardson,
Orchestral Manoeuvres in the Dark,
Aswad,
Thee Headcoats,
Little Man,
L. Decosne,
The Cramps,
The Doobie Brothers,
The Remains,
The Fire Engines,
Blake Baxter,
Cluster,
Pantaleimon,
Franke,
Bush Tetras,
FM Einheit,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.