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 Nepal and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Kenny Larkin to the punk kids.
I played it at the 40 Watt.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Cecil Taylor,
Marcia Griffiths,
Deutsch Amerikanische Freundschaft,
Suburban Knight,
Dark Day,
Oblivians,
The Human League,
Circle Jerks,
Avey Tare's Slasher Flicks,
Robert Görl,
MC5,
Electric Light Orchestra,
Sällskapet,
Lalann,
Schoolly D,
Blake Baxter,
Lou Reed & Metallica,
the Swans,
Graham Central Station,
Pharoah Sanders,
L. Decosne,
Dave Gahan,
Ten City,
The J.B.'s,
Arthur Verocai,
MDC,
Theoretical Girls,
Moebius,
Little Man,
Amon Düül,
The Pop Group,
Super Lover Cee & Casanova Rud,
Arab on Radar,
Bill Wells,
Agent Orange,
Angels of Light & Akron/Family,
Deakin,
Notorious BIG live in Amsterdam,
Crash Course in Science,
48th St. Collective,
Lower 48,
R.M.O.,
Icehouse,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
Slick Rick,
Gil Scott Heron,
Pussy Galore,
Quadrant,
Pharaoh Sanders and the Fire Engines,
Hot Snakes,
Grauzone,
Sunsets and Hearts,
Man Parrish,
X-101,
Q65,
Black Sheep,
Banda Bassotti,
Soft Machine,
Half Japanese,
The Selecter, The Selecter, The Selecter, The Selecter.
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.