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 Dominican Republic and from Cairo.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 June Days to the funk 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 Heaven 17. All the underground hits.
All Technova tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Names,
Rites of Spring,
Big Daddy Kane,
Livin' Joy,
Wire,
The Sisters of Mercy,
Flash Fearless,
Oblivians,
The Peanut Butter Conspiracy,
New York Dolls,
Nils Olav,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Absolute Body Control,
Infiniti,
Swell Maps,
Drexciya,
Traffic Nightmare,
Ultravox,
Pete Rock & C.L. Smooth,
Mr. Review,
Deakin,
The Trojans,
Rakim,
Peter & Gordon,
T. Rex,
The Red Krayola,
Slick Rick,
Howard Jones,
Art Ensemble Of Chicago,
Joe Smooth,
Maurizio,
Scientists,
The Knickerbockers,
Notorious Big And Bone Thugs,
Visage,
Sad Lovers and Giants,
The American Breed,
Lafayette Afro Rock Band,
Quando Quango,
Fear,
Dorothy Ashby,
Andrew Hill,
Desert Stars,
Q and Not U,
Japan,
Bluetip,
Lakeside,
Y Pants,
The Moleskins,
Captain Beefheart & His Magic Band,
John Holt,
Skarface,
Roxy Music,
Throbbing Gristle,
It's A Beautiful Day,
Spandau Ballet,
DNA,
Silicon Teens,
The Misunderstood,
Ice-T,
Nas,
Second Layer,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.