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 Angola and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Cybotron to the grunge kids.
I played it at CBGB's.
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 Sällskapet. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Mars,
Connie Case,
Angels of Light & Akron/Family,
Ludus,
The Motions,
Sly & The Family Stone,
Roger Hodgson,
Monolake,
Marc Romboy vs. Booka Shade,
Piero Umiliani,
Ultra Naté,
Black Flag,
Notorious BIG live in Amsterdam,
The Sisters of Mercy,
Ronnie Foster,
Bobby Byrd,
Camron Feat. Memphis Bleek And Beenie Seigel,
A Flock of Seagulls,
Neil Young & Crazy Horse,
Avey Tare's Slasher Flicks,
Interpol,
Vainqueur,
Skarface,
Yellowson,
The Golliwogs,
Crooked Eye,
Bronski Beat,
Roy Ayers Ubiquity,
PIL,
Donny Hathaway,
Youth Brigade,
Eve St. Jones,
Rufus Thomas,
the Human League,
U.S. Maple,
the Normal,
Toni Rubio,
This Heat,
Dennis Brown,
John Coltrane,
Pantytec,
One Last Wish,
Au Pairs,
Crash Course in Science,
Throbbing Gristle,
The Kinks,
The Doobie Brothers,
The Angels of Light,
Brass Construction,
Captain Beefheart & His Magic Band,
Marine Girls,
Qualms,
T. Rex,
Terry Callier,
Inner City,
The Barracudas,
The Monks,
The Five Americans,
Vaughan Mason & Crew,
Marc Almond,
Lower 48,
Groovy Waters,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.