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 New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Charles Mingus to the dance kids.
I played it at Trash.
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 The Walker Brothers. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Ponytail 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Juan Atkins,
The Human League,
Nick Fraelich,
Little Man,
The Walker Brothers,
The Index,
the Fania All-Stars,
Lafayette Afro Rock Band,
Tears for Fears,
Grandmaster Flash and the Furious Five,
Soft Cell,
Hasil Adkins,
The Gladiators,
The Dirtbombs,
Bluetip,
Cybotron,
The Misunderstood,
Grauzone,
Absolute Body Control,
Babytalk,
Dawn Penn,
Thee Headcoats,
Skriet,
Stereo Dub,
Sly & The Family Stone,
Kurtis Blow,
Q65,
The Shadows of Knight,
Funkadelic,
The Fortunes,
Cal Tjader,
The J.B.'s,
Public Image Ltd.,
Howard Jones,
Public Enemy,
The Remains,
Avey Tare's Slasher Flicks,
Ornette Coleman,
LL Cool J,
Donald Byrd,
Marc Romboy vs. Booka Shade,
Jesper Dahlbäck,
Mark Hollis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Tim Buckley,
Goldenarms,
The Pretty Things,
The Gories,
Aural Exciters,
Larry & the Blue Notes,
Soft Machine,
Black Sheep,
Amon Düül II,
Selector Dub Narcotic,
DeepChord presents Echospace,
Rapeman,
The Barracudas,
Nas,
Symarip,
Ultravox,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.