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 Oman and from Jakarta.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Stockholm 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Desert Stars to the funk 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 X-101. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Severed Heads,
Grandmaster Flash,
JFA,
John Lydon,
The Fugs,
Gang Starr,
Wolf Eyes,
Louis and Bebe Barron,
Larry & the Blue Notes,
Electric Light Orchestra,
Groovy Waters,
Lee Hazlewood,
Sandy B,
Scratch Acid,
Tomorrow,
Minutemen,
Tim Buckley,
Bobbi Humphrey,
The Pretty Things,
The Happenings,
Jacob Miller,
Deepchord,
The Misunderstood,
The Star Department,
Major Organ And The Adding Machine,
This Heat,
La Düsseldorf,
Pantytec,
Average White Band,
Television,
Niagra,
John Holt,
Bill Near,
DNA,
the Normal,
Black Pus,
Excepter,
Nik Kershaw,
MC5,
The Raincoats,
Avey Tare's Slasher Flicks,
Pete Rock & C.L. Smooth,
Bang On A Can,
Boogie Down Productions,
Kerri Chandler,
Matthew Bourne,
Delta 5,
Loose Ends,
Von Mondo,
Grauzone,
Wire,
Glenn Branca,
Hot Snakes,
Guru Guru,
Funky Four + One,
Accadde A,
Oppenheimer Analysis,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.