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 Madagascar and from Lille.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school Manchester 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Nico to the jazz 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 The Alarm Clocks. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
JFA,
Sandy B,
Make Up,
the Soft Cell,
K-Klass,
Jeru the Damaja,
The Moleskins,
Pantaleimon,
The Gladiators,
Eve St. Jones,
the Fania All-Stars,
Section 25,
Bobby Hutcherson,
The Slackers,
The Blues Magoos,
Laurel Aitken,
Crash Course in Science,
Moss Icon,
Pole,
Thompson Twins,
Talk Talk,
The Grass Roots,
Barrington Levy,
Rakim,
Joe Smooth,
Flamin' Groovies,
Curtis Mayfield,
Neil Young & Crazy Horse,
Television Personalities,
Mary Jane Girls,
Super Lover Cee & Casanova Rud,
The Smoke,
UT,
Ralphi Rosario,
Unwound,
The Vogues,
Sex Pistols,
F. McDonald,
Procol Harum,
Sparks,
Jerry's Kids,
Sexual Harrassment,
Wire,
Man Parrish,
Manfred Mann's Earth Band,
Unrelated Segments,
Alphaville,
Yazoo,
Oblivians,
The Happenings,
Rod Modell,
Magma,
Kaleidoscope,
Hoover,
Sunsets and Hearts,
The Mojo Men,
Gian Franco Pienzio,
Babytalk,
Don Cherry,
Joe Finger,
The Toasters,
Cluster, Cluster, Cluster, Cluster.
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.