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 Israel and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1972.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Boredoms 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 The Modern Lovers. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Terrestrial Tones,
Pierre Henry,
Lou Reed & John Cale,
The Gladiators,
E-Dancer,
Delta 5,
Marvin Gaye,
Crispy Ambulance,
Dorothy Ashby,
Make Up,
Brass Construction,
John Foxx,
Bobby Byrd,
Cybotron,
The Peanut Butter Conspiracy,
Motorama,
Newcleus,
The Grass Roots,
The Modern Lovers,
The Fortunes,
Notorious Big And Bone Thugs,
Visionaries,LMNO, T- Love & Iriscience,
Black Pus,
Nas,
Bill Near,
Minny Pops,
The West Coast Pop Art Experimental Band,
Robert Görl,
Flamin' Groovies,
Television,
Gary Puckett & The Union Gap,
Steve Hackett,
Agitation Free,
Tres Demented,
The Music Machine,
Ituana,
The Chocolate Watch Band,
DNA,
Dark Day,
Public Enemy,
Desert Stars,
Eve St. Jones,
Kayak,
Thee Headcoats,
Kings Of Tomorrow,
David Bowie,
Jeff Lynne,
Kerrie Biddell,
Joe Smooth,
The Cure,
Public Image Ltd.,
Brothers Johnson,
New Age Steppers,
Grandmaster Flash and the Furious Five,
Liliput,
Rakim,
Skriet,
The Fuzztones,
X-102,
Gil Scott Heron,
The Moody Blues,
Country Joe & The Fish,
Neil Young, Neil Young, Neil Young, Neil Young.
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.