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 Algeria and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in London and Woodstock.
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 organ 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 Wighnomy Brothers & Robag Wruhme to the electroclash kids.
I played it at the Roxy.
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 Massinfluence. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every The Velvet Underground 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 a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Pete Rock & C.L. Smooth,
Heaven 17,
Fear,
Rufus Thomas,
Brass Construction,
Bang On A Can,
Stiv Bators,
Anakelly,
Todd Terry,
The Pretty Things,
Gary Puckett & The Union Gap,
Reagan Youth,
Bluetip,
Gil Scott-Heron & Brian Jackson,
The Young Rascals,
Saccharine Trust,
Index,
Faraquet,
Gang Gang Dance,
The Remains,
The Sisters of Mercy,
Chrome,
Terrestrial Tones,
The Leaves,
the Fania All-Stars,
Slave,
Yusef Lateef,
Television,
The Angels of Light,
Harry Pussy,
Bang on a Can All-Stars,
Mary Jane Girls,
Fela Kuti,
Boogie Down Productions,
Davy DMX,
the Normal,
Bobby Hutcherson,
Jeru the Damaja,
Swell Maps,
Qualms,
Monolake,
Skarface,
The United States of America,
Morten Harket,
Sister Nancy,
Harmonia,
Symarip,
Hot Snakes,
Sonny Sharrock,
Negative Approach,
Wally Richardson,
It's A Beautiful Day,
Barbara Tucker,
The Neon Judgement,
Ronan,
48th St. Collective,
Scion,
F. McDonald,
Kings Of Tomorrow,
The Flesh Eaters,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.