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 Sri Lanka and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Aural Exciters to the rock kids.
I played it at the 40 Watt.
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 Thompson Twins. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every X-102 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
kango's stein massive,
X-102,
Unwound,
Jawbox,
Radiopuhelimet,
Kango’s Stein Massive,
Monks,
Camberwell Now,
Icehouse,
8 Eyed Spy,
The Golliwogs,
Marshall Jefferson,
Moby Grape,
Brass Construction,
Gang Green,
The Count Five,
Derrick Morgan,
Sound Behaviour,
Joey Negro,
Marmalade,
Juan Atkins,
Kool G Rap & DJ Polo,
Silicon Teens,
JFA,
The Martian,
The Men They Couldn't Hang,
Sly & The Family Stone,
The Happenings,
The Slits,
The Associates,
Terrestrial Tones,
Pantaleimon,
the Soft Cell,
Kings Of Tomorrow,
Harry Pussy,
Hashim,
Donald Byrd,
Tim Buckley,
Underground Resistance,
The Doors,
Agitation Free,
Gary Puckett & The Union Gap,
Sticky Fingaz feat. Raekwon,
Al Stewart,
Eve St. Jones,
Bauhaus,
Porter Ricks,
Bush Tetras,
Newcleus,
Maleditus Sound,
Camron Feat. Jay Z And Juelz,
Bang on a Can All-Stars,
Vainqueur,
Anakelly,
Visage,
Jeff Lynne,
Fear,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.