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 Egypt and from Mexico City.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Johnny Clarke to the jazz 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 Aswad. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas 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?
Selector Dub Narcotic,
Sight & Sound,
The Misunderstood,
Lalann,
Scrapy,
Cybotron,
Red Lorry Yellow Lorry,
Donald Byrd,
Avey Tare's Slasher Flicks,
Pole,
Shoche,
Flipper,
The Motions,
Henry Cow,
Barry Ungar,
Joe Finger,
Mad Mike,
Underground Resistance,
The Smoke,
Accadde A,
Pagans,
Cabaret Voltaire,
Stockholm Monsters,
Juan Atkins,
The Modern Lovers,
Easy Going,
8 Eyed Spy,
a-ha,
Andrew Ashong & Theo Parrish,
Prince Buster,
Mr. Review,
Bootsy Collins,
Soul Sonic Force,
The Young Rascals,
Rosa Yemen,
The Flesh Eaters,
Sällskapet,
The Cramps,
Lungfish,
Arab on Radar,
The Fall,
ABBA,
Magma,
The Detroit Cobras,
Marshall Jefferson,
Angry Samoans,
Sugar Minott,
Chris Corsano,
Stereo Dub,
Lou Christie,
Crime,
Zero Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kaleidoscope,
The Monks,
Echo & the Bunnymen,
Dave Gahan,
Janne Schatter,
Electric Prunes,
Average White Band,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.