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 Philippines and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Delhi 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Bill Near to the dance kids.
I played it at the Troubador.
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 Underground Resistance. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Slick Rick,
Drexciya,
the Germs,
Gong,
Thee Headcoats,
Anthony Braxton,
Orchestral Manoeuvres in the Dark,
Agitation Free,
World's Most,
Joey Negro,
The Zeros,
Excepter,
Boogie Down Productions,
Kenny Larkin,
Alison Limerick,
Underground Resistance,
Moss Icon,
8 Eyed Spy,
Johnny Clarke,
New York Dolls,
Harpers Bizarre,
The Count Five,
Tropical Tobacco,
Ossler,
Shoche,
Main Source,
Deutsch Amerikanische Freundschaft,
Quando Quango,
Curtis Mayfield,
Boz Scaggs,
Lebanon Hanover,
Sixth Finger,
Porter Ricks,
Bootsy's Rubber Band,
Soft Cell,
Laurel Aitken,
Flamin' Groovies,
Groovy Waters,
Judy Mowatt,
Trumans Water,
Marcia Griffiths,
Make Up,
Man Eating Sloth,
David Axelrod,
The West Coast Pop Art Experimental Band,
Silicon Teens,
PIL,
Nirvana,
Sällskapet,
Lakeside,
Soul II Soul,
Kool G Rap & DJ Polo,
Fad Gadget,
DeepChord presents Echospace,
Absolute Body Control,
The Detroit Cobras,
the Normal,
Lower 48,
Q and Not U,
The Human League, The Human League, The Human League, The Human League.
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.