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 Liechtenstein and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 Big Daddy Kane to the grunge 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 Sandy B. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Das Ding,
Don Cherry,
The Misunderstood,
Radiopuhelimet,
Eric Dolphy,
Stetsasonic,
Barrington Levy,
Fort Wilson Riot,
Ultravox,
Larry & the Blue Notes,
Maleditus Sound,
Suburban Knight,
La Düsseldorf,
Louis and Bebe Barron,
the Fania All-Stars,
Hot Snakes,
the Slits,
Monks,
Flipper,
Popol Vuh,
Vainqueur,
Minny Pops,
PIL,
The Fuzztones,
The Durutti Column,
Shoche,
Anthony Braxton,
Funky Four + One,
Infiniti,
Tears for Fears,
Bootsy Collins,
The Angels of Light,
Minor Threat,
The Chocolate Watch Band,
Bang On A Can,
Electric Light Orchestra,
F. McDonald,
Ten City,
Iggy Pop,
LL Cool J,
The Modern Lovers,
Teenage Jesus and the Jerks,
Interpol,
Davy DMX,
The Divine Comedy,
Visage,
The Techniques,
Sarah Menescal,
Wolf Eyes,
Connie Case,
Magazine,
The Monks,
Matthew Halsall,
Underground Resistance,
Ralphi Rosario,
Symarip,
Tommy Roe,
The Fall,
Notorious BIG live in Amsterdam,
The Five Americans,
Arcadia,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.