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 Palau and from Portland.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Blossom Toes to the disco kids.
I played it at Cafe Wha.
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 Nirvana. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Oneida,
The Real Kids,
Lizzy Mercier Descloux,
Amazonics,
Sonny Sharrock,
Subhumans,
The Victims,
David Axelrod,
Maleditus Sound,
Jawbox,
Derrick Morgan,
Youth Brigade,
Monks,
Byron Stingily,
Joyce Sims,
X-101,
Alphaville,
Panda Bear,
Pantytec,
A Flock of Seagulls,
Kerri Chandler,
Banda Bassotti,
Rakim,
Deepchord,
Big Daddy Kane,
Moss Icon,
Alice Coltrane,
Kerrie Biddell,
The Durutti Column,
Wolf Eyes,
Depeche Mode,
The Dirtbombs,
Patti Smith,
Johnny Osbourne,
The Remains,
Country Joe & The Fish,
Country Teasers,
Icehouse,
China Crisis,
Morten Harket,
Kurtis Blow,
The Cowsills,
Robert Hood,
Barry Ungar,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Smiths,
The Electric Prunes,
Kenny Larkin,
a-ha,
Slick Rick,
Lebanon Hanover,
Eric Copeland,
Glambeats Corp.,
The Standells,
Adolescents,
Yazoo,
ABC,
Agitation Free,
Lakeside,
the Slits,
Donny Hathaway,
Sunsets and Hearts,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.