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 Egypt and from Copenhagen.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Minor Threat to the jazz 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 Pantaleimon. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Hasil Adkins,
These Immortal Souls,
Japan,
The Music Machine,
John Cale,
Skarface,
Aswad,
X-101,
Von Mondo,
Mo-Dettes,
The Cowsills,
Idris Muhammad,
Wally Richardson,
The Alarm Clocks,
Magazine,
Kauko Röyhkä ja Narttu,
Animal Collective,
The Divine Comedy,
The Cramps,
Cybotron,
Freddie Wadling,
T.S.O.L.,
Trumans Water,
Bobby Sherman,
David McCallum,
Funkadelic,
T. Rex,
Mary Jane Girls,
The Blackbyrds,
Kerrie Biddell,
Yaz,
The Zeros,
The Sisters of Mercy,
Section 25,
Joensuu 1685,
Rhythim Is Rhythim,
A Certain Ratio,
Soul II Soul,
Lou Christie,
The Fall,
Mark Hollis,
Jesper Dahlbäck,
Barbara Tucker,
Jimmy McGriff,
Sun Ra,
Deutsch Amerikanische Freundschaft,
The Flesh Eaters,
ABC,
Bill Wells,
Scientists,
The Techniques,
Arab on Radar,
Thompson Twins,
the Fania All-Stars,
Pete Rock & C.L. Smooth,
Eli Mardock,
Chris & Cosey,
Radiopuhelimet,
Q and Not U,
Audionom,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.