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 Uzbekistan and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Salvador 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 808 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 Electric Prunes to the disco 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 R.M.O.. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Girls At Our Best!,
Charles Mingus,
Marmalade,
The Cure,
Aaron Thompson,
Lightning Bolt,
Isaac Hayes,
Scott Walker,
June Days,
Big Daddy Kane,
Funkadelic,
Gary Puckett & The Union Gap,
The Cosmic Jokers,
Chris & Cosey,
Aural Exciters,
Pantaleimon,
Intrusion,
Pantytec,
Erykah Badu,
John Holt,
Nik Kershaw,
Livin' Joy,
Royal Trux,
Yaz,
Scientists,
Banda Bassotti,
Quadrant,
Parry Music,
Archie Shepp,
Wolf Eyes,
Kaleidoscope,
Gong,
Lakeside,
The Human League,
Oblivians,
Alison Limerick,
Grey Daturas,
Lalo Schifrin,
Teenage Jesus and the Jerks,
Underground Resistance,
Blossom Toes,
The Mighty Diamonds,
Vainqueur,
Derrick May,
Pharaoh Sanders and the Fire Engines,
Gabor Szabo,
The Selecter,
Scott Walker + Sunn O))),
Grandmaster Flash,
Symarip,
8 Eyed Spy,
The Standells,
The Smiths,
Television,
Oppenheimer Analysis,
Electric Prunes,
Fad Gadget,
Eyeless In Gaza,
Bill Near,
Echospace, Echospace, Echospace, Echospace.
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.