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 Austria and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lagos and Lille.
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 linndrum 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 Kings Of Tomorrow to the electroclash kids.
I played it at CBGB's.
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 Minny Pops. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Sex Pistols 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Orchestral Manoeuvres in the Dark,
The Dirtbombs,
Sam Rivers,
Minor Threat,
Qualms,
Andrew Hill,
Marvin Gaye,
The Remains,
Sly & The Family Stone,
Absolute Body Control,
The Zeros,
U.S. Maple,
Q and Not U,
Barbara Tucker,
The Searchers,
Curtis Mayfield,
New Order,
De La Soul & Jungle Brothers,
Thee Headcoats,
Grauzone,
The Fire Engines,
The Five Americans,
Procol Harum,
Ice-T,
Agent Orange,
June of 44,
Rhythim Is Rhythim,
Chris & Cosey,
Icehouse,
Newcleus,
Susan Cadogan,
Rufus Thomas,
Ponytail,
The Smiths,
The Techniques,
Faust,
Urselle,
Pete Rock & C.L. Smooth,
Mark Hollis,
Bob Dylan,
Kings Of Tomorrow,
David Axelrod,
The Angels of Light,
Ralphi Rosario,
Manfred Mann's Earth Band,
Dave Gahan,
Sarah Menescal,
Pharoah Sanders,
Bobbi Humphrey,
The Pop Group,
Althea and Donna,
Kauko Röyhkä ja Narttu,
Avey Tare & Kría Brekkan,
Eli Mardock,
Soft Machine,
Electric Prunes,
Fifty Foot Hose,
Livin' Joy,
Adolescents,
Ornette Coleman,
Sonic Youth,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.