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 Namibia and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Brothers Johnson to the punk 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 Delta 5. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Country Joe & The Fish,
Stockholm Monsters,
Bang on a Can All-Stars,
Cybotron,
Alphaville,
Radiohead,
Porter Ricks,
Scott Walker,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Reuben Wilson,
David McCallum,
Unrelated Segments,
8 Eyed Spy,
The United States of America,
H. Thieme,
Suburban Knight,
a-ha,
Terrestrial Tones,
Eric Copeland,
Electric Prunes,
Lakeside,
The Cure,
Scientists,
Los Fastidios,
Moby Grape,
Kerri Chandler,
Sparks,
Supertramp,
Audionom,
Lebanon Hanover,
Teenage Jesus and the Jerks,
Ronnie Foster,
Big Daddy Kane,
Don Cherry,
L. Decosne,
Todd Terry,
Notorious Big And Bone Thugs,
Faraquet,
Altered Images,
John Lydon,
Gerry Rafferty,
The Shadows of Knight,
Man Parrish,
Trumans Water,
Darondo,
Boogie Down Productions,
Theoretical Girls,
Richard Hell and the Voidoids,
Tears for Fears,
Public Enemy,
Dark Day,
Pantaleimon,
Rapeman,
The Moody Blues,
Sun Ra Arkestra,
Barbara Tucker,
Lafayette Afro Rock Band,
Strawberry Alarm Clock,
The Star Department,
Kevin Saunderson,
Q65, Q65, Q65, Q65.
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.