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 Venezuela and from Sao Paulo.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum 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 Neu! 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 Ash Ra Tempel. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Todd Rundgren,
The Mighty Diamonds,
Kango’s Stein Massive,
B.T. Express,
Terry Callier,
Rod Modell,
Electric Light Orchestra,
Lou Reed,
Los Fastidios,
Wolf Eyes,
June Days,
Hasil Adkins,
Excepter,
Fatback Band,
Swans,
Bang On A Can,
Slick Rick,
World's Most,
The Grass Roots,
Fort Wilson Riot,
It's A Beautiful Day,
Pantytec,
Jacob Miller,
Pole,
Sun Ra Arkestra,
Derrick Morgan,
Gang of Four,
Althea and Donna,
Byron Stingily,
Trumans Water,
Howard Jones,
Essential Logic,
Accadde A,
Mark Hollis,
Maurizio,
The Jesus and Mary Chain,
Glenn Branca,
Dual Sessions,
Man Parrish,
Groovy Waters,
Vladislav Delay,
Motorama,
Technova,
Nils Olav,
Dark Day,
Procol Harum,
Charles Mingus,
Scion,
Amon Düül II,
Black Flag,
T.S.O.L.,
Iggy Pop,
Severed Heads,
Brothers Johnson,
The Peanut Butter Conspiracy,
Faraquet,
Andrew Hill,
Silicon Teens,
Lower 48,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.