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 Kuwait and from Johannesburg.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Beijing 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer 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 Brass Construction to the rock kids.
I played it at Trash.
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 Lebanon Hanover. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Amazonics,
The Fugs,
Camouflage,
DNA,
R.M.O.,
Barry Ungar,
Das Ding,
Louis and Bebe Barron,
Audionom,
The Techniques,
The United States of America,
The Kinks,
Liaisons Dangereuses,
Swans,
The Divine Comedy,
Liliput,
Little Man,
The Birthday Party,
Babytalk,
Reagan Youth,
Bob Dylan,
Bush Tetras,
Patti Smith,
Circle Jerks,
Mary Jane Girls,
Sun Ra,
Electric Light Orchestra,
Bronski Beat,
Siglo XX,
Nick Fraelich,
Sugar Minott,
Soul Sonic Force,
Kauko Röyhkä ja Narttu,
Joey Negro,
Fela Kuti,
Eddi Front,
a-ha,
The Grass Roots,
Accadde A,
Von Mondo,
The Remains,
Brand Nubian,
Subhumans,
Television Personalities,
Bad Manners,
Simply Red,
Gian Franco Pienzio,
Howard Jones,
Joe Finger,
Minutemen,
Donny Hathaway,
New Order,
Skriet,
Brass Construction,
Hoover,
Kool G Rap & DJ Polo,
Matthew Halsall,
The Count Five,
Gastr Del Sol,
Pantytec,
The Toasters,
Loose Ends,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.