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 Finland and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Paris and Manchester.
I'm losing my edge to the art-school Bremen 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Lalann to the funk 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 Curtis Mayfield. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Aural Exciters,
Robert Hood,
Deadbeat,
World's Most,
The Names,
John Lydon,
Young Marble Giants,
Dawn Penn,
Strawberry Alarm Clock,
Mr. Review,
Ten City,
Pet Shop Boys,
Alison Limerick,
Bang On A Can,
Crime,
The Divine Comedy,
X-101,
Zero Boys,
Henry Cow,
Metal Thangz,
a-ha,
Grandmaster Flash and the Furious Five,
Bang on a Can All-Stars,
Avey Tare's Slasher Flicks,
Robert Wyatt,
DNA,
Eden Ahbez,
The Men They Couldn't Hang,
Harry Pussy,
Public Image Ltd.,
Clear Light,
Average White Band,
Whodini,
Jawbox,
Matthew Halsall,
Cluster,
the Germs,
Kool G Rap & DJ Polo,
Ituana,
Connie Case,
Harpers Bizarre,
Khruangbin,
The Fall,
Quando Quango,
Isaac Hayes,
Lindisfarne,
The Fire Engines,
Section 25,
The Dave Clark Five,
Brick,
Dr. Dre and Snoop Doggy Dog,
The Music Machine,
Sly & The Family Stone,
Curtis Mayfield,
Jeff Mills,
Cecil Taylor,
Skarface,
June of 44,
Marc Romboy vs. Booka Shade,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.