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 Turkey and from Taipei.
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 1964 to 1971.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Motions to the dance 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 Lightning Bolt. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Organ,
Roy Ayers,
James White and The Blacks,
Flash Fearless,
Sight & Sound,
Essential Logic,
Jawbox,
The Electric Prunes,
Louis and Bebe Barron,
The J.B.'s,
Michelle Simonal,
The Grass Roots,
48th St. Collective,
Throbbing Gristle,
Glenn Branca,
Sparks,
Popol Vuh,
Dave Gahan,
Public Image Ltd.,
Supertramp,
Roxy Music,
Susan Cadogan,
the Bar-Kays,
Juan Atkins,
Ajijia Myrayebe,
Boogie Down Productions,
Harpers Bizarre,
Gang Green,
Pantytec,
Deutsch Amerikanische Freundschaft,
Fifty Foot Hose,
the Association,
The Victims,
Sandy B,
Dark Day,
Audionom,
Massinfluence,
Surgeon,
Harmonia,
Archie Shepp,
Average White Band,
Pere Ubu,
Big Daddy Kane,
Anakelly,
Man Parrish,
The Blues Magoos,
Hashim,
Boz Scaggs,
FM Einheit,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
EPMD,
Funky Four + One,
Mary Jane Girls,
Zero Boys,
Gerry Rafferty,
The Dirtbombs,
The Stooges,
The Durutti Column,
Banda Bassotti,
Dead Boys,
World's Most,
K-Klass, K-Klass, K-Klass, K-Klass.
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.