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 Panama and from Edmonton.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and New York.
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 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 Holger Czukay 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 Kas Product to the rap kids.
I played it at the Troubador.
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 Nick Fraelich. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an organ 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Wolf Eyes,
JFA,
Erasure,
Strawberry Alarm Clock,
Camberwell Now,
Notorious Big And Bone Thugs,
Danielle Patucci,
Animal Collective,
Magma,
The Techniques,
Half Japanese,
Laurel Aitken,
Stetsasonic,
the Slits,
Second Layer,
Al Stewart,
Rhythm & Sound,
Model 500,
Neil Young & Crazy Horse,
Guru Guru,
Moss Icon,
Traffic Nightmare,
CMW,
The New Christs,
Suburban Knight,
Lyres,
8 Eyed Spy,
The Doobie Brothers,
Newcleus,
The Grass Roots,
Eden Ahbez,
Arcadia,
Roger Hodgson,
Pussy Galore,
The Chocolate Watch Band,
Lightning Bolt,
The Motions,
Tomorrow,
Y Pants,
The Move,
The Selecter,
Drive Like Jehu,
Louis and Bebe Barron,
Wally Richardson,
Heaven 17,
Mandrill,
Godley & Creme,
Jacques Brel,
Major Organ And The Adding Machine,
X-101,
Black Pus,
Chris Corsano,
Gian Franco Pienzio,
Röyhkä ja Rättö ja Lehtisalo,
Oblivians,
Cabaret Voltaire,
Grauzone,
Supertramp,
Minnie Riperton,
Radiohead,
Lebanon Hanover,
cv313, cv313, cv313, cv313.
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.