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 Swaziland and from Sao Paulo.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
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 1973 at the first Television practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Monochrome Set 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 Drive Like Jehu. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Eli Mardock 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
The Raincoats,
New Age Steppers,
Albert Ayler,
Yazoo,
Maleditus Sound,
Audionom,
Scion,
Grandmaster Flash and the Furious Five,
Sun Ra Arkestra,
Bobbi Humphrey,
Black Sheep,
Patti Smith,
U.S. Maple,
Bootsy's Rubber Band,
Man Eating Sloth,
D'Angelo,
Grey Daturas,
The Golliwogs,
Michelle Simonal,
Aloha Tigers,
Nik Kershaw,
Reagan Youth,
Animal Collective,
Ronan,
The Vogues,
Liliput,
the Slits,
Reuben Wilson,
Monks,
Warsaw,
The J.B.'s,
the Human League,
Cabaret Voltaire,
Visage,
Brick,
Dave Gahan,
Dual Sessions,
Simply Red,
Boredoms,
Sarah Menescal,
Althea and Donna,
Franke,
Metal Thangz,
China Crisis,
LL Cool J,
Jeru the Damaja,
the Soft Cell,
Panda Bear,
The Move,
Tom Boy,
Bill Wells,
Pierre Henry,
Brass Construction,
Fear,
Khruangbin,
Rotary Connection,
The Count Five,
Thompson Twins,
Ponytail,
The West Coast Pop Art Experimental Band,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.