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 Cyprus 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 1965 to 1971.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Circle Jerks to the crunk kids.
I played it at the Crocodile.
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 Man Parrish. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Camberwell Now,
Johnny Osbourne,
Reuben Wilson,
The Misunderstood,
Desert Stars,
Steve Hackett,
Ornette Coleman,
Johnny Clarke,
Al Stewart,
The Electric Prunes,
Joe Smooth,
Saccharine Trust,
Minor Threat,
Lizzy Mercier Descloux,
Patti Smith,
the Fania All-Stars,
Q65,
Banda Bassotti,
Mary Jane Girls,
Man Parrish,
Bizarre Inc.,
Quadrant,
Chris & Cosey,
Motorama,
Bootsy Collins,
The Sonics,
Jacob Miller,
Nas,
Make Up,
The Music Machine,
Alison Limerick,
Ultimate Spinach,
The Alarm Clocks,
Monks,
Pagans,
Gabor Szabo,
Gil Scott-Heron and Jamie xx,
Lou Reed,
Faraquet,
The Slackers,
Fatback Band,
Hoover,
Janne Schatter,
Flamin' Groovies,
The Standells,
Lebanon Hanover,
Quantec,
Pussy Galore,
Alton Ellis,
A Certain Ratio,
Kauko Röyhkä ja Narttu,
Livin' Joy,
Black Sheep,
David McCallum,
The Birthday Party,
Gang Green,
Rapeman,
Eddi Front,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.