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 Papua New Guinea and from Shanghai.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Brick to the electroclash kids.
I played it at the Astoria.
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 Severed Heads. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Yusef Lateef,
The Gap Band,
Tropical Tobacco,
Black Flag,
The Motions,
Ralphi Rosario,
Soulsonic Force,
The Offenders,
Sight & Sound,
Ultravox,
Scrapy,
Matthew Halsall,
the Swans,
The Kinks,
Deepchord,
Kenny Larkin,
The Slits,
Second Layer,
Reuben Wilson,
Captain Beefheart & His Magic Band,
The Wake,
Rapeman,
Country Teasers,
David Axelrod,
FM Einheit,
Louis and Bebe Barron,
Godley & Creme,
Stockholm Monsters,
Q and Not U,
Harmonia,
Avey Tare's Slasher Flicks,
Young Marble Giants,
The Pretty Things,
Hot Snakes,
Babytalk,
Leonard Cohen,
Maurizio,
Depeche Mode,
Country Joe & The Fish,
Gabor Szabo,
Jerry Gold Smith,
Interpol,
Underground Resistance,
Crooked Eye,
The Star Department,
Arab on Radar,
Grey Daturas,
Bootsy Collins,
Index,
Robert Wyatt,
Pulsallama,
Archie Shepp,
Fela Kuti,
Magazine,
Warren Ellis,
Procol Harum,
Curtis Mayfield,
Lebanon Hanover,
Cameo,
Supertramp,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.