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 Ireland and from Tokyo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 Cairo and Manila.
I'm losing my edge to the art-school Lille 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 snare sounds with much patience.
I was there when Tom Verlaine 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 funk kids.
I played it at Cafe Wha.
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 Lonnie Liston Smith. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Gil Scott Heron,
Lou Reed & Metallica,
Dead Boys,
Parry Music,
Pete Rock & C.L. Smooth,
Sly & The Family Stone,
The Monochrome Set,
Circle Jerks,
Harmonia,
Sällskapet,
Moss Icon,
Lee Hazlewood,
Hot Snakes,
Harry Pussy,
Ajijia Myrayebe,
Jesper Dahlbäck,
Funkadelic,
Erasure,
The Count Five,
Jeff Lynne,
Bob Dylan,
Ohio Players,
a-ha,
Thompson Twins,
Lakeside,
Roy Ayers,
Lou Reed & John Cale,
Public Image Ltd.,
Jeff Mills,
Siouxsie and the Banshees,
The Saints,
Audionom,
Inner City,
The Slits,
Henry Cow,
Stiv Bators,
the Human League,
Chris Corsano,
Boredoms,
Ituana,
Lalo Schifrin,
Cybotron,
Country Teasers,
The Real Kids,
Flamin' Groovies,
Freddie Wadling,
Grey Daturas,
Kauko Röyhkä ja Narttu,
Cymande,
Make Up,
The Martian,
Eric B and Rakim,
Smog,
Junior Murvin,
Idris Muhammad,
DJ Sneak,
The Dave Clark Five,
Amon Düül,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.