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 Switzerland and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1977.
I'm losing my edge.
To all the kids in New York and New York.
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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Sound Behaviour to the techno 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 Lalann. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal rock 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 a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
The Blues Magoos,
Maleditus Sound,
Gang Gang Dance,
Funkadelic,
The Fortunes,
Piero Umiliani,
Intrusion,
Joe Smooth,
Swell Maps,
Letta Mbulu,
Ultramagnetic MC's,
H. Thieme,
Arab on Radar,
Niagra,
Danielle Patucci,
Echospace,
Fat Boys,
The Slackers,
U.S. Maple,
Fugazi,
The Invisible,
Skriet,
Young Marble Giants,
Sällskapet,
Radiopuhelimet,
Davy DMX,
Hashim,
Nick Fraelich,
Lou Reed & Metallica,
Man Parrish,
Gang of Four,
Isaac Hayes,
Mary Jane Girls,
Sexual Harrassment,
Babytalk,
Eric Copeland,
Wolf Eyes,
Rahsaan Roland Kirk,
Visage,
T.S.O.L.,
Fear,
Jeff Lynne,
Public Enemy,
Ohio Players,
Minutemen,
Peter Gordon & Love of Life Orchestra,
Suicide,
Patti Smith,
Stetsasonic,
The Pop Group,
Black Sheep,
Johnny Osbourne,
The Moody Blues,
MDC,
Sun City Girls,
Matthew Bourne,
Nirvana,
Ronan,
Jerry Gold Smith,
Dark Day, Dark Day, Dark Day, Dark Day.
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.