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 Congo and from Tehran.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Milan 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Nico to the jazz kids.
I played it at the Crocodile.
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 UT. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
This Heat,
Ralphi Rosario,
Bobby Womack,
Barry Ungar,
Sly & The Family Stone,
Sticky Fingaz feat. Raekwon,
Motorama,
Procol Harum,
Rakim,
Absolute Body Control,
The Monks,
Röyhkä ja Rättö ja Lehtisalo,
The Real Kids,
The Sound,
Mr. Review,
Dead Boys,
Joyce Sims,
The Offenders,
Oppenheimer Analysis,
Johnny Osbourne,
Lizzy Mercier Descloux,
Underground Resistance,
Lakeside,
Pantytec,
The J.B.'s,
the Association,
Scientists,
Flamin' Groovies,
Subhumans,
EPMD,
Strawberry Alarm Clock,
Moss Icon,
David Bowie,
The Velvet Underground,
Maleditus Sound,
Amon Düül,
Visionaries,LMNO, T- Love & Iriscience,
Rufus Thomas,
Flash Fearless,
Ajijia Myrayebe,
Simply Red,
Soul II Soul,
Suicide,
Nation of Ulysses,
Wally Richardson,
The Index,
T.S.O.L.,
Eyeless In Gaza,
Kayak,
Peter and Kerry,
Pagans,
Fad Gadget,
Tres Demented,
Black Flag,
Colin Newman,
Country Joe & The Fish,
The Toasters,
Swans,
Goldenarms,
Maurizio,
the Swans, the Swans, the Swans, the Swans.
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.