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 Antigua and from Columbus.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Derrick Morgan to the grunge 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 Howard Jones. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every The Dave Clark Five 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
The Index,
The Red Krayola,
Eli Mardock,
Bob Dylan,
Reuben Wilson,
Girls At Our Best!,
Niagra,
The Alarm Clocks,
Flamin' Groovies,
Spoonie Gee,
The Blues Magoos,
Mr. Review,
The Martian,
Lindisfarne,
The Knickerbockers,
Porter Ricks,
Country Teasers,
The Five Americans,
Model 500,
Neil Young & Crazy Horse,
Joey Negro,
Sparks,
Sex Pistols,
Erykah Badu,
Desert Stars,
Erasure,
Kool G Rap & DJ Polo,
The Names,
Scan 7,
Deadbeat,
Super Lover Cee & Casanova Rud,
Little Man,
Nick Fraelich,
The Busters,
the Germs,
The Move,
AZ,
Magazine,
the Swans,
Patti Smith,
Arcadia,
X-102,
Saccharine Trust,
Harpers Bizarre,
Siouxsie and the Banshees,
Joy Division,
PIL,
Cybotron,
Tres Demented,
The Standells,
Youth Brigade,
Tommy Roe,
Gil Scott-Heron & Brian Jackson,
Suicide,
Lower 48,
Yusef Lateef,
Marine Girls,
Kas Product,
Dorothy Ashby,
Maleditus Sound,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.