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 Niger and from Portland.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Paris 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 The Doobie Brothers to the crunk 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 the Slits. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Bronski Beat 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
David Axelrod,
Be Bop Deluxe,
The United States of America,
Kool Moe Dee,
Red Lorry Yellow Lorry,
John Holt,
the Germs,
Colin Newman,
Ultimate Spinach,
Andrew Ashong & Theo Parrish,
Little Man,
Graham Central Station,
Half Japanese,
Nik Kershaw,
the Normal,
Funky Four + One,
Strawberry Alarm Clock,
JFA,
The Five Americans,
Guru Guru,
Skaos,
Juan Atkins,
The Gap Band,
The Wake,
Darondo,
Moss Icon,
Surgeon,
Technova,
Public Image Ltd.,
Gary Puckett & The Union Gap,
The Gladiators,
Pharaoh Sanders and the Fire Engines,
New Age Steppers,
The Misunderstood,
The Sonics,
Rapeman,
Eurythmics,
Man Parrish,
The Neon Judgement,
Tom Boy,
Buzzcocks,
Panda Bear,
The Associates,
The Grass Roots,
The New Christs,
Los Fastidios,
Intrusion,
Symarip,
the Swans,
The Pop Group,
the Association,
The Blues Magoos,
Ultravox,
Tomorrow,
Camron Feat. Memphis Bleek And Beenie Seigel,
KRS-One,
Bad Manners,
Organ,
The Raincoats,
Minor Threat,
Ronan,
Ice-T, Ice-T, Ice-T, Ice-T.
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.