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 United Kingdom and from London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator 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 H. Thieme 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 Drive Like Jehu. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every The Offenders 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
The Kinks,
Lee Hazlewood,
The Mummies,
The Real Kids,
Grandmaster Flash,
Angry Samoans,
Symarip,
Little Man,
Groovy Waters,
Tres Demented,
Aaron Thompson,
Radio Birdman,
Unrelated Segments,
Terror Squad Feat. Camron,
Au Pairs,
The Motions,
Goldenarms,
The Music Machine,
Roxette,
Kenny Larkin,
Danielle Patucci,
Notorious BIG live in Amsterdam,
Youth Brigade,
Black Bananas,
Donald Byrd,
The J.B.'s,
The Modern Lovers,
EPMD,
Sugar Minott,
The Techniques,
Dual Sessions,
Kauko Röyhkä ja Narttu,
Public Image Ltd.,
the Human League,
Wighnomy Brothers & Robag Wruhme,
Sun Ra,
Byron Stingily,
Oppenheimer Analysis,
U.S. Maple,
Charles Mingus,
Ultravox,
Strawberry Alarm Clock,
The Trojans,
Ludus,
Yazoo,
Hasil Adkins,
The Busters,
The Mighty Diamonds,
Crash Course in Science,
Livin' Joy,
Yellowson,
Barclay James Harvest,
Gil Scott-Heron and Jamie xx,
Cabaret Voltaire,
Sound Behaviour,
Mark Hollis,
The Electric Prunes,
The Vogues,
This Heat,
Matthew Bourne,
Liaisons Dangereuses,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.