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 Turkey and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Columbus 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 theremin 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 Radio Birdman 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 Lebanon Hanover. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Y Pants record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Wake,
Chris & Cosey,
Lee Hazlewood,
The Techniques,
Gian Franco Pienzio,
Jesper Dahlback,
The Five Americans,
Unwound,
Country Joe & The Fish,
Khruangbin,
Suburban Knight,
Red Lorry Yellow Lorry,
Tomorrow,
Godley & Creme,
Sight & Sound,
Quantec,
Moss Icon,
Bang on a Can All-Stars,
Electric Prunes,
Grauzone,
Avey Tare & Kría Brekkan,
The Evens,
Lou Reed & John Cale,
Schoolly D,
Pere Ubu,
Section 25,
Fifty Foot Hose,
The Victims,
Jacques Brel,
the Germs,
Lindisfarne,
Boredoms,
De La Soul & Jungle Brothers,
Ten City,
Marcia Griffiths,
Radio Birdman,
H. Thieme,
DNA,
Simply Red,
Popol Vuh,
Agent Orange,
The Men They Couldn't Hang,
The Martian,
This Heat,
Gregory Isaacs,
K-Klass,
Jimmy McGriff,
Visage,
The Monochrome Set,
The Grass Roots,
Absolute Body Control,
Kool Moe Dee,
Roxy Music,
The Human League,
Terrestrial Tones,
The Searchers,
Be Bop Deluxe,
Man Eating Sloth,
Nico,
Kevin Saunderson,
Throbbing Gristle,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.