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 Hungary and from London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in New York and Bologna.
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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Reuben Wilson to the jazz kids.
I played it at the Troubador.
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 Maleditus Sound. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Pet Shop Boys 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
The Remains,
David Axelrod,
Orchestral Manoeuvres in the Dark,
Brick,
The Mighty Diamonds,
This Heat,
The Standells,
Scrapy,
Vaughan Mason & Crew,
Gang of Four,
Minnie Riperton,
The Sisters of Mercy,
The Music Machine,
It's A Beautiful Day,
Scott Walker + Sunn O))),
Scratch Acid,
Half Japanese,
Flamin' Groovies,
OOIOO,
Vainqueur,
Delta 5,
Tim Buckley,
The Dirtbombs,
Hoover,
Shoche,
John Lydon,
Cal Tjader,
Underground Resistance,
Dawn Penn,
Infiniti,
Los Fastidios,
Jandek,
the Fania All-Stars,
The United States of America,
Roxette,
Donald Byrd,
Visionaries,LMNO, T- Love & Iriscience,
Soft Machine,
Ken Boothe,
Joy Division,
Faust,
Soft Cell,
Main Source,
Tommy Roe,
Aloha Tigers,
Agitation Free,
The Motions,
Quadrant,
Yellowson,
X-101,
Animal Collective,
T.S.O.L.,
Banda Bassotti,
Richard Hell and the Voidoids,
Grey Daturas,
Wire,
The Slits,
Model 500,
David McCallum,
Wings, Wings, Wings, Wings.
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.