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 Mauritius and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Houston 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 Nile Rodgers 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 World's Most to the jazz kids.
I played it at Cafe Wha.
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 Public Enemy. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Desert Stars 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Circle Jerks record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Eve St. Jones,
The Fortunes,
Pantytec,
Rowland S Howard / Lydia Lunch,
Interpol,
The Gap Band,
Big Daddy Kane,
Urselle,
Robert Hood,
EPMD,
Godley & Creme,
New Order,
The United States of America,
Y Pants,
The Moleskins,
Letta Mbulu,
The Moody Blues,
Wire,
The Count Five,
Leonard Cohen,
Gil Scott-Heron & Brian Jackson,
Ludus,
Skaos,
Rapeman,
Lyres,
Qualms,
Teenage Jesus and the Jerks,
Jeff Mills,
Index,
Sparks,
Juan Atkins,
the Germs,
The Standells,
Boz Scaggs,
Gil Scott Heron,
Mission of Burma,
The Associates,
Schoolly D,
Liaisons Dangereuses,
Swell Maps,
The Sound,
Kerri Chandler,
Graham Central Station,
Curtis Mayfield,
The Sisters of Mercy,
Funkadelic,
Donny Hathaway,
Gian Franco Pienzio,
H. Thieme,
Delta 5,
Art Ensemble Of Chicago,
Metal Thangz,
Grauzone,
Aaron Thompson,
Tropical Tobacco,
Dennis Brown,
Janne Schatter,
Inner City,
Terry Callier,
ABC,
Rotary Connection,
T.S.O.L.,
Fear, Fear, Fear, Fear.
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.