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 Honduras and from Sao Paulo.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Columbus 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Pharaoh Sanders and the Fire Engines to the electroclash kids.
I played it at the Troubador.
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 Depeche Mode. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Deakin 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Brand Nubian,
Sight & Sound,
Piero Umiliani,
Avey Tare,
Patti Smith,
Yellowson,
Drive Like Jehu,
Shoche,
the Soft Cell,
Make Up,
ABC,
Radiopuhelimet,
Lightning Bolt,
The Count Five,
Bootsy's Rubber Band,
Peter & Gordon,
Urselle,
Crash Course in Science,
The Alarm Clocks,
Subhumans,
The Barracudas,
the Fania All-Stars,
The Victims,
Camberwell Now,
Spoonie Gee,
U.S. Maple,
World's Most,
Hashim,
Rosa Yemen,
Anakelly,
Inner City,
The Zeros,
Tubeway Army,
John Foxx,
The Cramps,
The Gories,
Ronnie Foster,
Gil Scott Heron,
Half Japanese,
Lou Reed & John Cale,
Avey Tare's Slasher Flicks,
Robert Wyatt,
Grandmaster Flash,
Mo-Dettes,
Ponytail,
Throbbing Gristle,
Bobby Hutcherson,
Public Enemy,
Derrick Morgan,
D'Angelo,
Hot Snakes,
Faust,
Kango’s Stein Massive,
Man Parrish,
Oppenheimer Analysis,
New York Dolls,
Section 25,
Terrestrial Tones,
Slick Rick,
The Martian,
K-Klass,
Funkadelic,
China Crisis,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.