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 Swaziland and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Calgary and Portland.
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 808 sounds with much patience.
I was there when Tom Verlaine 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 Electric Prunes to the jazz kids.
I played it at the Roxy.
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 The Doobie Brothers. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Rosa Yemen 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
L. Decosne,
Arab on Radar,
Gastr Del Sol,
Crispian St. Peters,
Shoche,
Main Source,
Robert Görl,
Nils Olav,
Los Fastidios,
Wire,
JFA,
Yaz,
Dorothy Ashby,
Moby Grape,
Byron Stingily,
Mars,
Gang Starr,
The Skatalites,
Kool G Rap & DJ Polo,
Yazoo,
The Techniques,
Archie Shepp,
Roxette,
Jawbox,
Richard Hell and the Voidoids,
Electric Light Orchestra,
Chris Corsano,
Skaos,
Man Parrish,
Blossom Toes,
Donny Hathaway,
Grandmaster Flash and the Furious Five,
Rhythim Is Rhythim,
Gian Franco Pienzio,
Tom Boy,
Basic Channel,
Country Joe & The Fish,
Echospace,
Young Marble Giants,
Country Teasers,
Sam Rivers,
Arcadia,
Thompson Twins,
Danielle Patucci,
Niagra,
Ultra Naté,
Gang of Four,
Depeche Mode,
Carl Craig,
the Human League,
Kings Of Tomorrow,
The Cramps,
Rahsaan Roland Kirk,
Ice-T,
OOIOO,
The Wake,
Gil Scott Heron,
Brick,
Lebanon Hanover,
the Association,
The Names,
Ossler,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.