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 Finland and from Copenhagen.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Calgary 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Monolake to the crunk kids.
I played it at Trash.
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 Aaron Thompson. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal techno 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 a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
The Walker Brothers,
Charles Mingus,
Rhythm & Sound,
Model 500,
Outsiders,
The Remains,
Von Mondo,
New York Dolls,
Jawbox,
Underground Resistance,
Chris & Cosey,
Swell Maps,
H. Thieme,
Joe Finger,
Todd Rundgren,
Electric Light Orchestra,
Drexciya,
Y Pants,
Gil Scott-Heron & Brian Jackson,
Metal Thangz,
Quadrant,
Essential Logic,
Boogie Down Productions,
Faraquet,
Liaisons Dangereuses,
Barclay James Harvest,
The Monks,
Dorothy Ashby,
Malaria!,
Eddi Front,
Ajijia Myrayebe,
Neu!,
Art Ensemble Of Chicago,
Ronnie Foster,
K-Klass,
Kango’s Stein Massive,
Lucky Dragons,
Avey Tare,
Deakin,
The Jesus and Mary Chain,
The Gories,
The Cowsills,
Absolute Body Control,
DJ Sneak,
Warsaw,
Alice Coltrane,
Pete Rock & C.L. Smooth,
Eric B and Rakim,
Dennis Brown,
Aswad,
Aural Exciters,
Glambeats Corp.,
This Heat,
Lindisfarne,
Barrington Levy,
Judy Mowatt,
The Kinks,
Fat Boys,
Bobby Byrd,
The Detroit Cobras,
Young Marble Giants,
John Coltrane,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.