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 Turkey and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 The Alarm Clocks to the techno 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 F. McDonald. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every The Slits 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rowland S Howard / Lydia Lunch,
David Bowie,
cv313,
D'Angelo,
Rapeman,
Bizarre Inc.,
Todd Rundgren,
X-102,
Bobby Sherman,
Gil Scott-Heron and Jamie xx,
Warsaw,
Camouflage,
Marmalade,
The Peanut Butter Conspiracy,
Electric Light Orchestra,
MC5,
Bootsy Collins,
Roxette,
The Walker Brothers,
Mandrill,
The Moody Blues,
Sister Nancy,
Larry & the Blue Notes,
Lizzy Mercier Descloux,
The Red Krayola,
The Gories,
Terrestrial Tones,
Girls At Our Best!,
Pierre Henry,
Infiniti,
The Black Dice,
T.S.O.L.,
The Stooges,
the Association,
The Grass Roots,
Essential Logic,
Vladislav Delay,
the Soft Cell,
Boredoms,
Byron Stingily,
Eric Copeland,
Ultimate Spinach,
Eli Mardock,
the Fania All-Stars,
Steve Hackett,
In Retrospect,
Big Daddy Kane,
Lakeside,
Ronan,
Lou Reed,
The Cure,
Sun Ra,
Jimmy McGriff,
Derrick May,
Kerrie Biddell,
Parry Music,
Eyeless In Gaza,
Tubeway Army,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.