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 Lesotho and from Houston.
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 1973.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Houston 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 Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Hot Snakes to the dance 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 Jerry's Kids. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Ultra Naté,
Art Ensemble Of Chicago,
The Motions,
Bobbi Humphrey,
Ten City,
Colin Newman,
Shoche,
Flipper,
Kas Product,
Ronan,
Dorothy Ashby,
the Association,
Sun Ra,
New Order,
Traffic Nightmare,
Fat Boys,
Panda Bear,
The Human League,
Darondo,
A Flock of Seagulls,
Grandmaster Flash and the Furious Five,
The Peanut Butter Conspiracy,
Ultramagnetic MC's,
K-Klass,
Wasted Youth,
Fluxion,
Sonic Youth,
Black Pus,
Von Mondo,
One Last Wish,
Thinking Fellers Union Local 282,
Marc Romboy vs. Booka Shade,
Suburban Knight,
James White and The Blacks,
The Doobie Brothers,
Das Ding,
Roy Ayers,
Robert Hood,
The Moleskins,
Japan,
Carl Craig,
Sixth Finger,
Can,
Barbara Tucker,
Ornette Coleman,
The Dirtbombs,
Tears for Fears,
Cameo,
Section 25,
Moby Grape,
The Evens,
the Swans,
Lalo Schifrin,
David Axelrod,
Buzzcocks,
Technova,
Nick Fraelich,
Lightning Bolt,
Soft Cell,
Ohio Players,
Duran Duran,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.