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 Russia and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Hong Kong and Copenhagen.
I'm losing my edge to the art-school London 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 arpeggiator 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 Roger Hodgson to the dance kids.
I played it at Trash.
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 The Star Department. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Gabor Szabo 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Lungfish,
Scratch Acid,
Yellowson,
The Barracudas,
The Peanut Butter Conspiracy,
John Cale,
In Retrospect,
The United States of America,
Justin Hinds & The Dominoes,
Main Source,
Lalo Schifrin,
Television Personalities,
Bad Manners,
The Seeds,
Minnie Riperton,
Index,
Jesper Dahlback,
Ajijia Myrayebe,
Khruangbin,
Warsaw,
T.S.O.L.,
Orchestral Manoeuvres in the Dark,
Eric Copeland,
Sexual Harrassment,
K-Klass,
Radio Birdman,
Animal Collective,
The West Coast Pop Art Experimental Band,
The Trojans,
Derrick Morgan,
Rahsaan Roland Kirk,
Susan Cadogan,
Connie Case,
Donald Byrd,
Masters at Work,
Symarip,
Roxy Music,
Black Moon,
Alton Ellis,
Drive Like Jehu,
Kenny Larkin,
Michelle Simonal,
James Chance & The Contortions,
Glambeats Corp.,
The Dead C,
The Blackbyrds,
Bush Tetras,
Trumans Water,
Thompson Twins,
Mad Mike,
Moby Grape,
The Dirtbombs,
Basic Channel,
Manfred Mann's Earth Band,
Faust,
Frankie Knuckles,
Graham Central Station,
Eve St. Jones,
Janne Schatter,
PIL,
Roxette,
Art Ensemble Of Chicago,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.