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 Bosnia Herzegovina and from Houston.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Houston and Mumbai.
I'm losing my edge to the art-school Madrid 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Mad Mike to the crunk 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 Eden Ahbez. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Porter Ricks,
Chris Corsano,
Funky Four + One,
Siglo XX,
Oblivians,
Anthony Braxton,
Howard Jones,
New Order,
Tim Buckley,
Tom Boy,
D'Angelo,
Deutsch Amerikanische Freundschaft,
Gary Puckett & The Union Gap,
EPMD,
Don Cherry,
the Association,
The Men They Couldn't Hang,
U.S. Maple,
the Soft Cell,
Gerry Rafferty,
Visage,
Q65,
Barry Ungar,
Ash Ra Tempel,
Arcadia,
Faraquet,
Terrestrial Tones,
Gichy Dan,
Curtis Mayfield,
Zapp,
Urselle,
Bobby Byrd,
The Barracudas,
Gong,
Moebius,
The Fall,
Alphaville,
Frankie Knuckles,
John Lydon,
Oppenheimer Analysis,
Jesper Dahlback,
Hoover,
Brothers Johnson,
Interpol,
The Doobie Brothers,
Rhythm & Sound,
Marc Almond,
Television,
Notorious Big And Bone Thugs,
Junior Murvin,
Fifty Foot Hose,
Roxette,
Roxy Music,
X-102,
Half Japanese,
The Monks,
The Residents,
Derrick May,
Warsaw,
Soul II Soul,
Bobby Hutcherson,
Bang on a Can All-Stars,
Delta 5, Delta 5, Delta 5, Delta 5.
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.