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 Bremen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Lou Reed 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 The Doobie Brothers 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 The Trojans. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Lee Hazlewood,
Bizarre Inc.,
Stiv Bators,
Minny Pops,
Alison Limerick,
Janne Schatter,
Fatback Band,
Swans,
The Litter,
Rowland S Howard / Lydia Lunch,
PIL,
The Last Poets,
Outsiders,
Popol Vuh,
Young Marble Giants,
the Human League,
Amon Düül,
The Gories,
Mandrill,
La Düsseldorf,
the Soft Cell,
Captain Beefheart & His Magic Band,
E-Dancer,
Juan Atkins,
The Searchers,
Sight & Sound,
Panda Bear,
Dead Boys,
Lou Reed,
F. McDonald,
The Techniques,
Fluxion,
The American Breed,
Guru Guru,
Basic Channel,
Procol Harum,
The Electric Prunes,
UT,
ABBA,
Underground Resistance,
The Pretty Things,
The Young Rascals,
Gary Puckett & The Union Gap,
Drive Like Jehu,
The Velvet Underground,
X-101,
The Shadows of Knight,
Dennis Brown,
Carl Craig,
Bobby Byrd,
Khruangbin,
Public Image Ltd.,
The Smiths,
Crispian St. Peters,
Lucky Dragons,
Nik Kershaw,
Oppenheimer Analysis,
Jerry Gold Smith,
Lungfish,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.