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 Djibouti and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Madrid 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 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 Angry Samoans to the funk 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 Smog. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Von Mondo 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
Fear,
Freddie Wadling,
Rod Modell,
Jeru the Damaja,
Fela Kuti,
Fugazi,
The Gap Band,
The Fire Engines,
CMW,
The Index,
Mars,
U.S. Maple,
Los Fastidios,
Oblivians,
cv313,
Pole,
Howard Jones,
Kenny Larkin,
OOIOO,
Liliput,
10cc,
Drexciya,
Minnie Riperton,
Lucky Dragons,
E-Dancer,
The Star Department,
Agent Orange,
Organ,
Sad Lovers and Giants,
One Last Wish,
Lyres,
Avey Tare's Slasher Flicks,
Subhumans,
Tomorrow,
Echospace,
The Pretty Things,
Cabaret Voltaire,
Sexual Harrassment,
Rosa Yemen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Five Americans,
Nation of Ulysses,
Super Lover Cee & Casanova Rud,
Amon Düül II,
The Peanut Butter Conspiracy,
Scan 7,
Half Japanese,
Rahsaan Roland Kirk,
Aaron Thompson,
Brick,
The Buckinghams,
Janne Schatter,
Theoretical Girls,
F. McDonald,
Bobby Womack,
The Standells,
Black Flag,
Severed Heads,
Sun Ra,
D'Angelo,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.