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 Czech Republic and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 The Residents to the rap kids.
I played it at Trash.
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 Soft Cell. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Magazine 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Silicon Teens,
Matthew Bourne,
Rhythim Is Rhythim,
The Red Krayola,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gap Band,
Bad Manners,
Rapeman,
Dead Boys,
EPMD,
Maurizio,
Lizzy Mercier Descloux,
One Last Wish,
Hardrive,
The Evens,
Ituana,
Pierre Henry,
Altered Images,
Masters at Work,
Ossler,
Kaleidoscope,
Pharaoh Sanders and the Fire Engines,
Crime,
Sugar Minott,
Bush Tetras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Vainqueur,
The Misunderstood,
The Gories,
The Walker Brothers,
The Sound,
Jeff Lynne,
Technova,
The Monks,
Mantronix,
Bootsy's Rubber Band,
Qualms,
the Fania All-Stars,
Blake Baxter,
June Days,
Cymande,
Y Pants,
Mission of Burma,
Faraquet,
Graham Central Station,
The Five Americans,
Joy Division,
Liliput,
The West Coast Pop Art Experimental Band,
World's Most,
Tears for Fears,
The Star Department,
Lalo Schifrin,
The Moleskins,
Minutemen,
Aloha Tigers,
Bob Dylan,
Laurel Aitken,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.