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 Monaco and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Cairo 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Lucky Dragons to the crunk kids.
I played it at the 40 Watt.
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 Robert Hood. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
the Slits,
Kango’s Stein Massive,
Donald Byrd,
Hasil Adkins,
Fifty Foot Hose,
Amon Düül II,
Siglo XX,
The Five Americans,
Duran Duran,
The Move,
Ash Ra Tempel,
James White and The Blacks,
Wasted Youth,
Peter & Gordon,
Letta Mbulu,
These Immortal Souls,
CMW,
Severed Heads,
E-Dancer,
Bobby Womack,
Vaughan Mason & Crew,
Ituana,
Jesper Dahlbäck,
the Fania All-Stars,
Ken Boothe,
Basic Channel,
Soul II Soul,
Scion,
Johnny Clarke,
Aaron Thompson,
John Cale,
The Peanut Butter Conspiracy,
Easy Going,
Cameo,
Graham Central Station,
Jawbox,
The Moleskins,
10cc,
Wolf Eyes,
The J.B.'s,
The Kinks,
Slave,
Crispian St. Peters,
Terry Callier,
Howard Jones,
Ultra Naté,
Jerry Gold Smith,
Grey Daturas,
The Index,
Gang of Four,
The Tremeloes,
Bang On A Can,
Lyres,
The Buckinghams,
The Gap Band,
Flash Fearless,
Aloha Tigers,
MDC, MDC, MDC, MDC.
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.