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 Mexico and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Cairo and New York.
I'm losing my edge to the art-school Lagos 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 marimba sounds with much patience.
I was there when Michael McDonald 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 The Offenders to the jazz kids.
I played it at CBGB's.
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 Sight & Sound. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal techno 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 a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Gil Scott-Heron & Brian Jackson,
Boogie Down Productions,
The Dead C,
Bluetip,
The Buckinghams,
Roger Hodgson,
Sun Ra Arkestra,
cv313,
The Jesus and Mary Chain,
Angels of Light & Akron/Family,
Panda Bear,
Matthew Halsall,
Nirvana,
Von Mondo,
Subhumans,
Selector Dub Narcotic,
Letta Mbulu,
the Germs,
Leonard Cohen,
Suicide,
Youth Brigade,
The Fire Engines,
Isaac Hayes,
The Men They Couldn't Hang,
Cybotron,
X-102,
Ituana,
Godley & Creme,
The Blackbyrds,
Joy Division,
The Mojo Men,
Buzzcocks,
Bauhaus,
Theoretical Girls,
Junior Murvin,
Andrew Hill,
Public Enemy,
Bootsy's Rubber Band,
Lebanon Hanover,
The Saints,
Major Organ And The Adding Machine,
Mo-Dettes,
Visage,
Audionom,
Lower 48,
Glambeats Corp.,
LL Cool J,
Avey Tare & Kría Brekkan,
Patti Smith,
MDC,
Stetsasonic,
Avey Tare's Slasher Flicks,
Camberwell Now,
Bad Manners,
Sam Rivers,
Minnie Riperton,
Thee Headcoats,
Jimmy McGriff,
Tubeway Army,
Aswad,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
John Lydon, John Lydon, John Lydon, John Lydon.
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.