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 Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Manila 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 spring reverb 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 The Shadows of Knight to the crunk kids.
I played it at the Astoria.
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 Gian Franco Pienzio. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Underground Resistance,
Andrew Hill,
Traffic Nightmare,
Brass Construction,
John Holt,
Bad Manners,
Robert Hood,
D'Angelo,
Sonic Youth,
The American Breed,
Masters at Work,
The Kinks,
The Slackers,
Aural Exciters,
Lonnie Liston Smith,
Neil Young,
Man Parrish,
Isaac Hayes,
Au Pairs,
The Gladiators,
The Doors,
Stereo Dub,
Scion,
Joensuu 1685,
Sunsets and Hearts,
Rufus Thomas,
The Angels of Light,
Lou Reed & John Cale,
Half Japanese,
Sarah Menescal,
Groovy Waters,
Pete Rock & C.L. Smooth,
Sun Ra,
Bang On A Can,
The Alarm Clocks,
Ultramagnetic MC's,
Can,
the Human League,
Ludus,
The Raincoats,
Piero Umiliani,
Japan,
Donald Byrd,
Lee Hazlewood,
Tommy Roe,
The Searchers,
Deepchord,
Zapp,
Main Source,
Sam Rivers,
Cymande,
Susan Cadogan,
London Community Gospel Choir,
Derrick May,
Rotary Connection,
Massinfluence,
De La Soul & Jungle Brothers,
Bob Dylan,
Notorious BIG live in Amsterdam,
Skaos,
Skarface,
Organ, Organ, Organ, Organ.
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.