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 Malawi and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school New York 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Darondo to the grunge kids.
I played it at the Hacienda.
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 Robert Görl. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
K-Klass,
Harpers Bizarre,
The Names,
Lou Christie,
Ossler,
Big Daddy Kane,
Lightning Bolt,
Malaria!,
Patti Smith,
Sonny Sharrock,
The Invisible,
Boredoms,
Sparks,
Avey Tare,
CMW,
The Men They Couldn't Hang,
Yaz,
Neil Young,
Nik Kershaw,
The Misunderstood,
Larry & the Blue Notes,
The Slackers,
Wolf Eyes,
Agent Orange,
Lakeside,
Eddi Front,
Whodini,
Minnie Riperton,
The Sound,
Dark Day,
the Bar-Kays,
Swans,
Wighnomy Brothers & Robag Wruhme,
The Happenings,
Pharaoh Sanders and the Fire Engines,
Mad Mike,
The American Breed,
Rhythm & Sound,
Crispy Ambulance,
Rosa Yemen,
Niagra,
The Shadows of Knight,
Junior Murvin,
Pussy Galore,
cv313,
Dennis Brown,
Unrelated Segments,
Fort Wilson Riot,
Rapeman,
Depeche Mode,
Royal Trux,
Bobby Hutcherson,
The Dirtbombs,
Liaisons Dangereuses,
Basic Channel,
Cabaret Voltaire,
Infiniti,
The Slits,
Animal Collective,
Intrusion,
Johnny Osbourne,
The Velvet Underground,
The Move, The Move, The Move, The Move.
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.