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 Brazil and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1977.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Khruangbin to the disco kids.
I played it at the Astoria.
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 The Gap Band. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
Fear,
Leonard Cohen,
Radiohead,
The Names,
Rakim,
the Bar-Kays,
Roy Ayers,
Max Romeo,
Cheater Slicks,
Ultramagnetic MC's,
Rhythim Is Rhythim,
Bobby Sherman,
One Last Wish,
R.M.O.,
Pete Rock & C.L. Smooth,
The Wake,
Malaria!,
The Cramps,
June Days,
Eli Mardock,
Davy DMX,
Sexual Harrassment,
The Sound,
Ice-T,
The Grass Roots,
The Trojans,
Urselle,
DeepChord presents Echospace,
Jacques Brel,
Eric Copeland,
Gang Gang Dance,
Bootsy's Rubber Band,
Sällskapet,
The Slits,
Lou Christie,
Niagra,
Minutemen,
Tres Demented,
Symarip,
Banda Bassotti,
Stiv Bators,
EPMD,
Fluxion,
Bronski Beat,
Juan Atkins,
Susan Cadogan,
Hardrive,
Sister Nancy,
LL Cool J,
Lee Hazlewood,
Lower 48,
Little Man,
Cymande,
Cybotron,
Drexciya,
U.S. Maple,
Gian Franco Pienzio,
Flamin' Groovies,
Man Eating Sloth,
John Cale,
The Flesh Eaters,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.