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 Haiti and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide 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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Columbus 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 F. McDonald to the disco kids.
I played it at Cafe Wha.
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 Ornette Coleman. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Fat Boys,
The Offenders,
The Sound,
Ronnie Foster,
Chrome,
Steve Hackett,
48th St. Collective,
Kool Moe Dee,
Toni Rubio,
The Fuzztones,
Louis and Bebe Barron,
Electric Prunes,
Eli Mardock,
Blancmange,
Rakim,
Donald Byrd,
Rekid,
The Fire Engines,
Frankie Knuckles,
Byron Stingily,
Shuggie Otis,
Avey Tare & Kría Brekkan,
New York Dolls,
James White and The Blacks,
Panda Bear,
The Flesh Eaters,
cv313,
Sight & Sound,
Heavy D & The Boyz,
John Coltrane,
The Men They Couldn't Hang,
Drive Like Jehu,
Kerri Chandler,
The Stooges,
The Pop Group,
Quando Quango,
Agent Orange,
Matthew Halsall,
Warren Ellis,
Camberwell Now,
Gichy Dan,
Blossom Toes,
Tres Demented,
A Flock of Seagulls,
The Sonics,
Bill Wells,
Curtis Mayfield,
Lebanon Hanover,
Rosa Yemen,
the Swans,
Amon Düül II,
Silicon Teens,
The Residents,
One Last Wish,
Kings Of Tomorrow,
Public Enemy,
Con Funk Shun,
DeepChord presents Echospace,
The Gun Club,
Roxy Music,
Terry Callier,
Kool G Rap & DJ Polo,
Hoover,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.