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 Croatia and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Negative Approach to the grunge kids.
I played it at the Crocodile.
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 New Order. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Heavy D & The Boyz,
Eric Dolphy,
Brand Nubian,
Andrew Ashong & Theo Parrish,
Michelle Simonal,
Flamin' Groovies,
Fatback Band,
Glenn Branca,
DJ Style,
Tears for Fears,
The Dirtbombs,
Cymande,
Tropical Tobacco,
Section 25,
Minnie Riperton,
The Last Poets,
Boz Scaggs,
Ten City,
Aaron Thompson,
Brothers Johnson,
Radio Birdman,
Radiohead,
Lee Hazlewood,
Porter Ricks,
Toni Rubio,
Strawberry Alarm Clock,
Scrapy,
Brass Construction,
Sandy B,
Das Ding,
Deutsch Amerikanische Freundschaft,
Unwound,
Marmalade,
KRS-One,
Jerry's Kids,
Sun Ra,
Neil Young & Crazy Horse,
Harpers Bizarre,
The Human League,
JFA,
Vainqueur,
Glambeats Corp.,
Gil Scott Heron,
Accadde A,
Funky Four + One,
Skaos,
Louis and Bebe Barron,
The Wake,
Shuggie Otis,
Richard Hell and the Voidoids,
The Offenders,
The Techniques,
Boogie Down Productions,
Hot Snakes,
The Jesus and Mary Chain,
La Düsseldorf,
Isaac Hayes,
Monks,
Ossler,
Talk Talk,
It's A Beautiful Day,
Camouflage, Camouflage, Camouflage, Camouflage.
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.