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 Azerbaijan and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Bremen 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 güiro 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 Flash Fearless to the jazz 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 Dark Day. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Fifty Foot Hose,
Television,
Bobby Byrd,
Marine Girls,
Ultra Naté,
Mad Mike,
James Chance & The Contortions,
The Residents,
Duran Duran,
Peter & Gordon,
Severed Heads,
Monks,
Glambeats Corp.,
Connie Case,
Tres Demented,
The Buckinghams,
Ohio Players,
DeepChord presents Echospace,
MC5,
E-Dancer,
Lucky Dragons,
A Flock of Seagulls,
Moebius,
Eurythmics,
Liaisons Dangereuses,
Skriet,
Make Up,
Simply Red,
Monolake,
Cluster,
Schoolly D,
Japan,
Excepter,
Altered Images,
Pulsallama,
Outsiders,
The Stooges,
Bill Near,
Deakin,
The Dave Clark Five,
The Velvet Underground,
De La Soul & Jungle Brothers,
Motorama,
Ash Ra Tempel,
Index,
Bobbi Humphrey,
Section 25,
Althea and Donna,
Rapeman,
Ken Boothe,
Warren Ellis,
Agent Orange,
The Move,
Rites of Spring,
Talk Talk,
Dawn Penn,
Sarah Menescal,
The Barracudas,
Gong, Gong, Gong, Gong.
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.