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 Cyprus and from Shanghai.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school New York 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 oboe 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 Music Machine to the electroclash 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 Public Image Ltd.. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Roger Hodgson,
Steve Hackett,
Fat Boys,
Mad Mike,
Pete Rock & C.L. Smooth,
Ituana,
Nico,
Connie Case,
Cabaret Voltaire,
Byron Stingily,
Pole,
The Dave Clark Five,
Unwound,
The Remains,
Monks,
Robert Wyatt,
Bobbi Humphrey,
Hardrive,
The Happenings,
Letta Mbulu,
Yusef Lateef,
Archie Shepp,
Juan Atkins,
The Jesus and Mary Chain,
Ronnie Foster,
Banda Bassotti,
James Chance & The Contortions,
Todd Rundgren,
The Durutti Column,
Stereo Dub,
Amon Düül II,
The Kinks,
Aaron Thompson,
ABBA,
Mantronix,
Lower 48,
The Gun Club,
Glenn Branca,
Leonard Cohen,
Bauhaus,
Subhumans,
Television Personalities,
Girls At Our Best!,
Oppenheimer Analysis,
Y Pants,
Niagra,
Magazine,
Fugazi,
Chrome,
Lalann,
Harmonia,
The Selecter,
The Searchers,
Eric Copeland,
Eve St. Jones,
The Electric Prunes,
Nick Cave & The Bad Seeds,
New Age Steppers,
Röyhkä ja Rättö ja Lehtisalo,
Grey Daturas,
Andrew Ashong & Theo Parrish,
Index,
KRS-One, KRS-One, KRS-One, KRS-One.
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.