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 Iran and from Columbus.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Spokane 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Pantytec to the electroclash 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 The Mummies. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Erykah Badu,
David Axelrod,
Thinking Fellers Union Local 282,
Das Ding,
Ultramagnetic MC's,
The Last Poets,
The Offenders,
Ajijia Myrayebe,
Ohio Players,
Hot Snakes,
John Cale,
Section 25,
Freddie Wadling,
Royal Trux,
Girls At Our Best!,
H. Thieme,
The Moody Blues,
The Misunderstood,
Bang On A Can,
The Electric Prunes,
Quadrant,
Pere Ubu,
Blossom Toes,
Sad Lovers and Giants,
Gary Puckett & The Union Gap,
Arab on Radar,
Suburban Knight,
Henry Cow,
Reagan Youth,
The Evens,
Negative Approach,
X-101,
The Chocolate Watch Band,
Con Funk Shun,
Bootsy's Rubber Band,
Gabor Szabo,
Gang Green,
Fluxion,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Todd Rundgren,
MC5,
Yusef Lateef,
Clear Light,
Scott Walker + Sunn O))),
Lower 48,
Chris Corsano,
Avey Tare,
Oppenheimer Analysis,
Hashim,
Ice-T,
Marshall Jefferson,
Sound Behaviour,
La Düsseldorf,
Can,
Q and Not U,
Sun Ra,
Ten City,
Malaria!,
The Human League,
Underground Resistance,
DJ Sneak,
The Move, The Move, The Move, The Move.
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.