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 Tonga and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Woodstock 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 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 Sticky Fingaz feat. Raekwon to the rap kids.
I played it at the Astoria.
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 Lee Hazlewood. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Cal Tjader,
Joyce Sims,
Buzzcocks,
Stetsasonic,
Fluxion,
Sad Lovers and Giants,
Darondo,
June of 44,
Grauzone,
Henry Cow,
Radio Birdman,
Interpol,
The Mummies,
Bizarre Inc.,
Andrew Hill,
Kool G Rap & DJ Polo,
Ajijia Myrayebe,
Slave,
Donny Hathaway,
The Peanut Butter Conspiracy,
Deadbeat,
Man Eating Sloth,
E-Dancer,
Gabor Szabo,
Ice-T,
Dr. Dre and Snoop Doggy Dog,
Sällskapet,
Black Flag,
Swans,
The Seeds,
The Count Five,
Pagans,
Minny Pops,
Mad Mike,
Visage,
the Association,
Piero Umiliani,
Negative Approach,
The Index,
Carl Craig,
Cameo,
Tim Buckley,
Spandau Ballet,
Marc Romboy vs. Booka Shade,
The Moody Blues,
New Age Steppers,
D'Angelo,
Underground Resistance,
Gichy Dan,
Davy DMX,
Symarip,
Drive Like Jehu,
Suburban Knight,
Circle Jerks,
Traffic Nightmare,
Massinfluence,
Rotary Connection,
Jerry Gold Smith,
Ralphi Rosario,
The Sonics,
Wire,
the Sonics, the Sonics, the Sonics, the Sonics.
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.