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 Costa Rica and from Tehran.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 Public Enemy to the grime 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 Angry Samoans. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Blossom Toes,
Traffic Nightmare,
Gil Scott-Heron and Jamie xx,
Red Lorry Yellow Lorry,
Big Daddy Kane,
Khruangbin,
Boz Scaggs,
Rufus Thomas,
The Motions,
Ten City,
The Fugs,
The Electric Prunes,
Supertramp,
Make Up,
Thee Headcoats,
Alison Limerick,
Yellowson,
Au Pairs,
The Trojans,
Intrusion,
Jandek,
Wally Richardson,
Hasil Adkins,
One Last Wish,
Skriet,
Moby Grape,
The Mojo Men,
Gabor Szabo,
Deutsch Amerikanische Freundschaft,
Reagan Youth,
The Men They Couldn't Hang,
Jesper Dahlbäck,
In Retrospect,
Crispian St. Peters,
Simply Red,
David Bowie,
Tropical Tobacco,
Gregory Isaacs,
The United States of America,
Kevin Saunderson,
Heaven 17,
Davy DMX,
MDC,
Kerrie Biddell,
DJ Sneak,
Little Man,
Scratch Acid,
Cabaret Voltaire,
Bronski Beat,
New York Dolls,
Tommy Roe,
Captain Beefheart & His Magic Band,
kango's stein massive,
The Chocolate Watch Band,
Marc Romboy vs. Booka Shade,
Jerry Gold Smith,
Zapp,
Kango’s Stein Massive,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.