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 Marshall Islands and from Tehran.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Seoul 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 Robert Palmer 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 Joyce Sims to the dance kids.
I played it at the 40 Watt.
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 Cymande. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Ronnie Foster,
Oppenheimer Analysis,
Delta 5,
Ultramagnetic MC's,
Slave,
Swans,
Godley & Creme,
Bobby Hutcherson,
Mandrill,
Lightning Bolt,
Roxy Music,
Panda Bear,
Jeru the Damaja,
Derrick May,
Sun City Girls,
Manfred Mann's Earth Band,
Echospace,
Pharaoh Sanders and the Fire Engines,
Black Moon,
Neu!,
Boz Scaggs,
Excepter,
Judy Mowatt,
Kas Product,
Surgeon,
Mark Hollis,
Kauko Röyhkä ja Narttu,
Fort Wilson Riot,
Larry & the Blue Notes,
Ice-T,
The Litter,
Y Pants,
Pierre Henry,
Freddie Wadling,
Saccharine Trust,
Dave Gahan,
The United States of America,
DJ Sneak,
The Jesus and Mary Chain,
LL Cool J,
Nick Cave & The Bad Seeds,
Maleditus Sound,
Quantec,
Aural Exciters,
The Young Rascals,
Royal Trux,
The Buckinghams,
Skarface,
Sister Nancy,
K-Klass,
The Wake,
Scott Walker,
Animal Collective,
Brass Construction,
The Electric Prunes,
Make Up,
H. Thieme,
The Grass Roots,
John Coltrane,
the Normal,
London Community Gospel Choir,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.