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 Kazakhstan 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 1965 to 1978.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Nick Fraelich 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 John Holt. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Crime 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
James Chance & The Contortions,
The Five Americans,
Selector Dub Narcotic,
Ornette Coleman,
Reuben Wilson,
Don Cherry,
Pharaoh Sanders and the Fire Engines,
Kayak,
The Star Department,
Ronnie Foster,
Isaac Hayes,
Toni Rubio,
Boz Scaggs,
Fat Boys,
Curtis Mayfield,
Howard Jones,
The Barracudas,
The Black Dice,
Letta Mbulu,
Donald Byrd,
Janne Schatter,
Rites of Spring,
Iggy Pop,
China Crisis,
Joy Division,
Lebanon Hanover,
Camouflage,
Hot Snakes,
X-101,
Lower 48,
Lightning Bolt,
Steve Hackett,
Easy Going,
Fugazi,
Symarip,
Marmalade,
Alton Ellis,
Altered Images,
Yusef Lateef,
The Golliwogs,
Rapeman,
Loose Ends,
Intrusion,
The Mojo Men,
Al Stewart,
Y Pants,
Electric Light Orchestra,
The Alarm Clocks,
DNA,
Josef K,
Eric B and Rakim,
Tropical Tobacco,
Arcadia,
Excepter,
Banda Bassotti,
Echospace,
The Music Machine,
Yellowson,
Oblivians,
Ossler,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.