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 East Timor and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Hot Snakes 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 Man Parrish. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Soulsonic Force 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
New Age Steppers,
the Slits,
The Smiths,
Main Source,
The Evens,
Radio Birdman,
Camouflage,
The Blackbyrds,
Sly & The Family Stone,
Isaac Hayes,
Roxy Music,
Intrusion,
Art Ensemble Of Chicago,
Minor Threat,
Q and Not U,
Avey Tare,
Malaria!,
OOIOO,
The Gun Club,
Fat Boys,
Liliput,
James Chance & The Contortions,
Sonic Youth,
Parry Music,
Alison Limerick,
Suburban Knight,
Heavy D & The Boyz,
The Barracudas,
Bush Tetras,
The Gories,
Gerry Rafferty,
The Beau Brummels,
The Doobie Brothers,
Gil Scott Heron,
The Monochrome Set,
Chris & Cosey,
Barry Ungar,
Throbbing Gristle,
Absolute Body Control,
The Dead C,
The Knickerbockers,
Drive Like Jehu,
Louis and Bebe Barron,
Gastr Del Sol,
Red Lorry Yellow Lorry,
Sight & Sound,
Ronan,
The Star Department,
Sun City Girls,
Piero Umiliani,
L. Decosne,
Ohio Players,
Bobbi Humphrey,
Andrew Ashong & Theo Parrish,
Tubeway Army,
Bad Manners,
48th St. Collective,
The Mighty Diamonds,
Fifty Foot Hose,
Royal Trux,
Ralphi Rosario,
Livin' Joy,
Tim Buckley,
PIL, PIL, PIL, PIL.
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.