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 Iceland and from Manila.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 Milan and Taipei.
I'm losing my edge to the art-school Copenhagen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Bill Near to the dance 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 Ultravox. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Delta 5 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
James White and The Blacks,
Lucky Dragons,
The Fall,
Jacques Brel,
Spoonie Gee,
The Angels of Light,
Ash Ra Tempel,
Hasil Adkins,
Bootsy's Rubber Band,
the Fania All-Stars,
Jawbox,
The Selecter,
Lalo Schifrin,
Marine Girls,
Monks,
Big Daddy Kane,
Agent Orange,
Model 500,
The Mighty Diamonds,
Ludus,
The Fuzztones,
Camouflage,
Glambeats Corp.,
Severed Heads,
Siglo XX,
The Blackbyrds,
Idris Muhammad,
Soul Sonic Force,
L. Decosne,
A Flock of Seagulls,
Chris Corsano,
Ice-T,
Excepter,
The Standells,
Selector Dub Narcotic,
Nation of Ulysses,
Duran Duran,
Kool G Rap & DJ Polo,
Ronan,
Michelle Simonal,
Sunsets and Hearts,
KRS-One,
X-101,
The Victims,
Pharoah Sanders,
The Walker Brothers,
Groovy Waters,
Andrew Hill,
U.S. Maple,
Echo & the Bunnymen,
Alton Ellis,
Kenny Larkin,
Scott Walker,
Cecil Taylor,
The Happenings,
Essential Logic,
Country Teasers,
Piero Umiliani,
Organ,
Marcia Griffiths,
The Mummies,
Rekid,
Roxette, Roxette, Roxette, Roxette.
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.