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 Switzerland and from Bologna.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Salvador 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Rekid to the electroclash kids.
I played it at CBGB's.
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 Slave. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sticky Fingaz feat. Raekwon,
Andrew Hill,
Avey Tare & Kría Brekkan,
Ajijia Myrayebe,
Marcia Griffiths,
Rhythim Is Rhythim,
The Skatalites,
Eli Mardock,
Slave,
Crispy Ambulance,
Nation of Ulysses,
Magma,
Heaven 17,
Flash Fearless,
Sister Nancy,
Adolescents,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
Gian Franco Pienzio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Electric Light Orchestra,
Shuggie Otis,
Saccharine Trust,
Donald Byrd,
The Move,
The Motions,
Joe Finger,
Drive Like Jehu,
Hashim,
The West Coast Pop Art Experimental Band,
It's A Beautiful Day,
Tom Boy,
Echo & the Bunnymen,
Electric Prunes,
Justin Hinds & The Dominoes,
The Litter,
Archie Shepp,
Sparks,
Bronski Beat,
Fela Kuti,
The Index,
The Fugs,
Kenny Larkin,
Yellowson,
Judy Mowatt,
Hoover,
Los Fastidios,
Kauko Röyhkä ja Narttu,
The Moody Blues,
Main Source,
Hardrive,
Tim Buckley,
John Holt,
Intrusion,
Wolf Eyes,
Aloha Tigers,
The Velvet Underground,
Soul II Soul,
Aaron Thompson,
Ultra Naté,
Lower 48,
Bluetip,
Pantaleimon,
Monks, Monks, Monks, Monks.
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.