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 Vanuatu and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Spokane 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 Scion to the dance 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 Unrelated Segments. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Vladislav Delay 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Invisible,
Derrick May,
Ohio Players,
The Cure,
Depeche Mode,
Gang Starr,
The Fugs,
Jerry Gold Smith,
48th St. Collective,
Danielle Patucci,
Joey Negro,
Robert Görl,
Anakelly,
X-Ray Spex,
Brand Nubian,
Lonnie Liston Smith,
Nirvana,
Pulsallama,
Tomorrow,
Oppenheimer Analysis,
Freddie Wadling,
Grandmaster Flash,
The Litter,
the Swans,
Sight & Sound,
The Buckinghams,
Cal Tjader,
Index,
Lightning Bolt,
Amon Düül II,
Symarip,
Maurizio,
Scott Walker,
Sarah Menescal,
Fela Kuti,
Joe Smooth,
Warsaw,
Mantronix,
Ultimate Spinach,
Bootsy Collins,
The Blackbyrds,
Hashim,
Rakim,
Grandmaster Flash and the Furious Five,
the Normal,
Lower 48,
Country Teasers,
Notorious Big And Bone Thugs,
Eurythmics,
Pole,
Blake Baxter,
Half Japanese,
James White and The Blacks,
The Music Machine,
Amon Düül,
The Dead C,
Inner City,
OOIOO,
Harmonia, Harmonia, Harmonia, Harmonia.
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.