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 Philippines and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Seoul 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro 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 Infiniti 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 The Mojo Men. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Soft Cell,
Donald Byrd,
Bang on a Can All-Stars,
Unwound,
Frankie Knuckles,
James Chance & The Contortions,
Y Pants,
Adolescents,
Livin' Joy,
The Evens,
Sexual Harrassment,
48th St. Collective,
Skaos,
The Blues Magoos,
The Cosmic Jokers,
The West Coast Pop Art Experimental Band,
Nation of Ulysses,
Deadbeat,
The Young Rascals,
Sister Nancy,
Bobby Hutcherson,
The Grass Roots,
De La Soul & Jungle Brothers,
Marvin Gaye,
The Martian,
Bill Near,
The Count Five,
Brothers Johnson,
Marmalade,
Kool Moe Dee,
Ultramagnetic MC's,
David McCallum,
cv313,
Slave,
Hoover,
Absolute Body Control,
The Royal Family And The Poor,
Camron Feat. Jay Z And Juelz,
The Jesus and Mary Chain,
Country Teasers,
The Trojans,
KRS-One,
Zapp,
Girls At Our Best!,
John Lydon,
Au Pairs,
The Gap Band,
the Human League,
Alice Coltrane,
Altered Images,
Harpers Bizarre,
Dark Day,
Deakin,
Cal Tjader,
Ponytail,
Cabaret Voltaire,
Max Romeo,
Boogie Down Productions,
The Names, The Names, The Names, The Names.
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.