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 Guatemala and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Minnie Riperton to the rock 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 Minny Pops. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Gil Scott-Heron and Jamie xx,
Symarip,
Marc Almond,
A Flock of Seagulls,
Motorama,
Intrusion,
Lee Hazlewood,
Gong,
The Tremeloes,
Echospace,
Yaz,
Lalo Schifrin,
Von Mondo,
Faraquet,
The Moleskins,
Pulsallama,
Bobby Byrd,
Johnny Osbourne,
Dennis Brown,
The Doors,
Das Ding,
The Techniques,
Model 500,
New Age Steppers,
The Evens,
Television Personalities,
Terrestrial Tones,
Eric B and Rakim,
Jawbox,
Andrew Ashong & Theo Parrish,
Pylon,
Camouflage,
The Buckinghams,
Sunsets and Hearts,
Main Source,
Flash Fearless,
Kool G Rap & DJ Polo,
a-ha,
Aural Exciters,
The Kinks,
The Raincoats,
The Stooges,
Inner City,
The American Breed,
Ohio Players,
Pantaleimon,
Radio Birdman,
Supertramp,
The Chocolate Watch Band,
Terror Squad Feat. Camron,
A Certain Ratio,
Public Image Ltd.,
Gang Starr,
Carl Craig,
Scott Walker,
Ultramagnetic MC's,
Babytalk,
Derrick Morgan,
Sun Ra Arkestra,
The Cramps, The Cramps, The Cramps, The Cramps.
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.