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 Marshall Islands and from Edmonton.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Hashim to the rock kids.
I played it at the 40 Watt.
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 Mad Mike. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Black Bananas,
Stiv Bators,
Bang on a Can All-Stars,
Bobby Byrd,
Cluster,
B.T. Express,
Grauzone,
UT,
Grandmaster Flash and the Furious Five,
Delta 5,
Big Daddy Kane,
The Cramps,
Eric Copeland,
Animal Collective,
Infiniti,
Godley & Creme,
Bootsy's Rubber Band,
Soul Sonic Force,
The Angels of Light,
Richard Hell and the Voidoids,
Robert Hood,
Howard Jones,
Agent Orange,
Cheater Slicks,
Mars,
Cal Tjader,
Charles Mingus,
Sun Ra,
The Raincoats,
The Electric Prunes,
Sister Nancy,
Sarah Menescal,
Max Romeo,
Joe Smooth,
Scientists,
Icehouse,
Derrick Morgan,
Colin Newman,
Blake Baxter,
Sandy B,
Saccharine Trust,
Procol Harum,
The Evens,
Ultramagnetic MC's,
Sonic Youth,
Minnie Riperton,
H. Thieme,
Fifty Foot Hose,
KRS-One,
Eddi Front,
Crime,
Suicide,
Scion,
The Real Kids,
Dead Boys,
The Star Department,
A Flock of Seagulls,
Lebanon Hanover,
The Dead C,
Nick Fraelich,
Jacques Brel,
China Crisis, China Crisis, China Crisis, China Crisis.
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.