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 Djibouti and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Delhi 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 mellotron 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 Underground Resistance to the funk 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 Lou Reed. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Maleditus Sound 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
K-Klass,
Agitation Free,
Suicide,
Jesper Dahlback,
The Last Poets,
Khruangbin,
The Star Department,
Jimmy McGriff,
Gregory Isaacs,
Bronski Beat,
Quando Quango,
Audionom,
Dead Boys,
Rod Modell,
Eden Ahbez,
Rosa Yemen,
Marshall Jefferson,
Manfred Mann's Earth Band,
Colin Newman,
Letta Mbulu,
The Neon Judgement,
U.S. Maple,
Unrelated Segments,
Barry Ungar,
Nils Olav,
The Barracudas,
Stetsasonic,
Black Bananas,
Larry & the Blue Notes,
Ornette Coleman,
Underground Resistance,
The Busters,
Todd Terry,
Matthew Bourne,
Slave,
Tears for Fears,
The American Breed,
The Modern Lovers,
Super Lover Cee & Casanova Rud,
Pussy Galore,
Erasure,
Lindisfarne,
The Human League,
Todd Rundgren,
Essential Logic,
Fugazi,
the Soft Cell,
The Tremeloes,
Mars,
The Buckinghams,
R.M.O.,
Zero Boys,
Gichy Dan,
Ultimate Spinach,
The Smoke,
Avey Tare's Slasher Flicks,
Pantytec,
Pylon,
Guru Guru,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.