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 Guyana and from Mexico City.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Milan 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 Flash Fearless to the grime 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 New York Dolls. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Goldenarms,
the Association,
Infiniti,
Bronski Beat,
Juan Atkins,
Subhumans,
Eric Copeland,
Delon & Dalcan,
Popol Vuh,
Visionaries,LMNO, T- Love & Iriscience,
Darondo,
Nation of Ulysses,
In Retrospect,
The Blues Magoos,
Pole,
The Velvet Underground,
Aaron Thompson,
Glenn Branca,
June of 44,
Ultimate Spinach,
The Techniques,
Minnie Riperton,
World's Most,
Gong,
Dual Sessions,
Tim Buckley,
Be Bop Deluxe,
Suicide,
The Fugs,
The Sonics,
Wolf Eyes,
The Gladiators,
Slave,
B.T. Express,
Lungfish,
The Human League,
Eric B and Rakim,
Strawberry Alarm Clock,
Reagan Youth,
Captain Beefheart & His Magic Band,
Groovy Waters,
The Selecter,
Jerry Gold Smith,
Ultravox,
Agitation Free,
The Misunderstood,
Interpol,
Au Pairs,
Super Lover Cee & Casanova Rud,
Young Marble Giants,
Sandy B,
Kas Product,
The Chocolate Watch Band,
The Vogues,
D'Angelo,
Connie Case,
Minny Pops,
Mary Jane Girls,
Red Lorry Yellow Lorry,
The Count Five,
the Fania All-Stars,
Arab on Radar,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.