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 Dominica and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school Manchester 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Brick to the rap kids.
I played it at the Roxy.
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 Leonard Cohen. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Sonic Youth 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Unwound,
Joe Smooth,
Scientists,
Grey Daturas,
The Selecter,
K-Klass,
Patti Smith,
The Alarm Clocks,
Japan,
Bootsy's Rubber Band,
The Sisters of Mercy,
Royal Trux,
Monolake,
Ohio Players,
The Music Machine,
Sex Pistols,
The Litter,
Howard Jones,
Thinking Fellers Union Local 282,
Lyres,
Kango’s Stein Massive,
The Fortunes,
Fort Wilson Riot,
The Dave Clark Five,
Nas,
Gang Gang Dance,
Model 500,
Aaron Thompson,
Soft Cell,
Underground Resistance,
Section 25,
Rapeman,
Boogie Down Productions,
Depeche Mode,
The Leaves,
Steve Hackett,
Derrick Morgan,
Hardrive,
Organ,
Tubeway Army,
The Fall,
Connie Case,
Maleditus Sound,
Sly & The Family Stone,
Frankie Knuckles,
Sun City Girls,
Blossom Toes,
X-Ray Spex,
Ultimate Spinach,
Mad Mike,
Bad Manners,
Camouflage,
Pagans,
Flamin' Groovies,
ABC,
Main Source,
Lou Reed & Metallica,
Mandrill,
The Fugs, The Fugs, The Fugs, The Fugs.
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.