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 Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Mexico City 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 theremin 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 In Retrospect to the dance kids.
I played it at the Hacienda.
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 Isaac Hayes. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Ultramagnetic MC's,
Jerry's Kids,
Inner City,
Faraquet,
Sam Rivers,
Strawberry Alarm Clock,
Lightning Bolt,
Gil Scott-Heron and Jamie xx,
The Gladiators,
Bobby Byrd,
Quadrant,
Agitation Free,
The American Breed,
Cybotron,
Saccharine Trust,
The Star Department,
The Angels of Light,
Liaisons Dangereuses,
Desert Stars,
Manfred Mann's Earth Band,
Dark Day,
Country Teasers,
Eve St. Jones,
Magma,
Eric Copeland,
Matthew Halsall,
Gil Scott Heron,
Tres Demented,
Unwound,
Nick Fraelich,
Mantronix,
Black Bananas,
Harpers Bizarre,
Minor Threat,
Dorothy Ashby,
E-Dancer,
Talk Talk,
Warsaw,
Brand Nubian,
Pulsallama,
Panda Bear,
Lucky Dragons,
Fatback Band,
Leonard Cohen,
Jeff Mills,
Funkadelic,
Deutsch Amerikanische Freundschaft,
Charles Mingus,
Buzzcocks,
Jacob Miller,
Main Source,
Mad Mike,
The Modern Lovers,
Arcadia,
China Crisis,
Archie Shepp,
Marcia Griffiths,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.