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 Taiwan and from Lyon.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Electric Prunes to the dance kids.
I played it at the Crocodile.
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 Gichy Dan. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
LL Cool J,
Josef K,
Index,
Cymande,
the Association,
Teenage Jesus and the Jerks,
48th St. Collective,
Niagra,
Kevin Saunderson,
The Evens,
Electric Prunes,
John Holt,
The Jesus and Mary Chain,
The Selecter,
UT,
The Names,
Sonny Sharrock,
Young Marble Giants,
It's A Beautiful Day,
Lebanon Hanover,
Godley & Creme,
Sun City Girls,
Brass Construction,
Rhythm & Sound,
Rekid,
Lalo Schifrin,
The Happenings,
The Last Poets,
Be Bop Deluxe,
Pulsallama,
Nirvana,
Idris Muhammad,
Wire,
Cabaret Voltaire,
Suicide,
Procol Harum,
Jerry Gold Smith,
Amazonics,
Soft Cell,
Darondo,
Nas,
Drive Like Jehu,
Sunsets and Hearts,
Jesper Dahlbäck,
Susan Cadogan,
Black Flag,
Jacob Miller,
DJ Sneak,
Black Sheep,
Pantaleimon,
Lonnie Liston Smith,
Judy Mowatt,
Louis and Bebe Barron,
Donald Byrd,
Schoolly D,
Technova,
Roy Ayers Ubiquity,
New Age Steppers,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.