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 Australia and from Delhi.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Nas to the funk kids.
I played it at the Spitz.
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 Susan Cadogan. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Groovy Waters 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Ultimate Spinach,
James White and The Blacks,
Sad Lovers and Giants,
Black Sheep,
Black Pus,
The Zeros,
X-Ray Spex,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
Arab on Radar,
Amon Düül II,
Lee Hazlewood,
Johnny Clarke,
Strawberry Alarm Clock,
LL Cool J,
Young Marble Giants,
Robert Hood,
Radiopuhelimet,
Beasts of Bourbon,
The Music Machine,
Hot Snakes,
Kool Moe Dee,
The Associates,
Blossom Toes,
E-Dancer,
The Kinks,
Leonard Cohen,
Oneida,
John Lydon,
Kayak,
Country Teasers,
Reagan Youth,
David Axelrod,
Larry & the Blue Notes,
Ultra Naté,
Mars,
Bobby Hutcherson,
Absolute Body Control,
Kevin Saunderson,
Circle Jerks,
Amon Düül,
Alphaville,
Rahsaan Roland Kirk,
Brothers Johnson,
One Last Wish,
Tears for Fears,
Eyeless In Gaza,
Lalo Schifrin,
F. McDonald,
Drive Like Jehu,
The Tremeloes,
Agitation Free,
The Modern Lovers,
Warsaw,
The Velvet Underground,
Pagans,
Aaron Thompson,
Rowland S Howard / Lydia Lunch,
Mary Jane Girls,
The Searchers,
Faust, Faust, Faust, Faust.
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.