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 Czech Republic and from Woodstock.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Milan 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 at the first Suicide practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Slick Rick to the grime kids.
I played it at the 40 Watt.
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 Don Cherry. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal disco 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Ultra Naté,
Piero Umiliani,
Liaisons Dangereuses,
DeepChord presents Echospace,
The Misunderstood,
Nils Olav,
Parry Music,
Leonard Cohen,
Kool Moe Dee,
Lou Reed & Metallica,
Jesper Dahlback,
Stockholm Monsters,
Bob Dylan,
Dennis Brown,
Amon Düül,
Maurizio,
Schoolly D,
Juan Atkins,
Model 500,
Qualms,
Television,
Interpol,
Monolake,
The Leaves,
Rod Modell,
Siglo XX,
The Skatalites,
David Bowie,
Ultravox,
Crispian St. Peters,
Pantaleimon,
Dawn Penn,
Buzzcocks,
The Fugs,
The Victims,
Country Teasers,
Outsiders,
Jeff Mills,
The Mummies,
ABBA,
kango's stein massive,
Lalo Schifrin,
Beasts of Bourbon,
Todd Rundgren,
Q65,
Magma,
Graham Central Station,
DJ Style,
Fad Gadget,
Oppenheimer Analysis,
Gil Scott Heron,
The Alarm Clocks,
Soft Cell,
Joensuu 1685,
Black Flag,
Mad Mike,
The Move,
Unrelated Segments,
Super Lover Cee & Casanova Rud,
E-Dancer,
Glambeats Corp.,
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.