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 Latvia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Manila 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 oboe 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 Jandek to the rock 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 Stockholm Monsters. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Neu! 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Icehouse,
Larry & the Blue Notes,
The Flesh Eaters,
Suburban Knight,
The Monks,
Amazonics,
The Gories,
Fatback Band,
Maurizio,
Lindisfarne,
Aswad,
Amon Düül II,
Grauzone,
Heaven 17,
The Music Machine,
The Cosmic Jokers,
Panda Bear,
Jesper Dahlbäck,
Soft Cell,
Harpers Bizarre,
The Detroit Cobras,
Bobby Sherman,
Mantronix,
The Skatalites,
Slave,
the Germs,
R.M.O.,
Con Funk Shun,
Hoover,
Flash Fearless,
Roy Ayers,
The Sound,
Kas Product,
Bobbi Humphrey,
Kenny Larkin,
Interpol,
Big Daddy Kane,
Kevin Saunderson,
The Smiths,
Porter Ricks,
Fluxion,
Vladislav Delay,
The Divine Comedy,
Rod Modell,
Peter & Gordon,
Black Pus,
Crispy Ambulance,
Lafayette Afro Rock Band,
Jeff Lynne,
Archie Shepp,
Youth Brigade,
Judy Mowatt,
Toni Rubio,
The Fire Engines,
Ajijia Myrayebe,
the Bar-Kays,
Idris Muhammad,
Kayak,
The Residents,
Faraquet,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.