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 Cambodia and from Bremen.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Glasgow 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 808 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 James Chance & The Contortions to the punk 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 Fort Wilson Riot. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal dance 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
The Dirtbombs,
Lou Reed & John Cale,
Hot Snakes,
The Count Five,
Qualms,
The Gap Band,
Von Mondo,
N.O.R.E. Featuring Pharrell,
Bootsy's Rubber Band,
Faraquet,
Angels of Light & Akron/Family,
Arab on Radar,
June of 44,
The Gun Club,
Newcleus,
Flash Fearless,
Cymande,
Mad Mike,
The Buckinghams,
Masters at Work,
Icehouse,
Derrick Morgan,
OOIOO,
kango's stein massive,
Y Pants,
Spandau Ballet,
The Toasters,
Swell Maps,
Frankie Knuckles,
Junior Murvin,
Public Enemy,
Black Bananas,
Joyce Sims,
Connie Case,
Altered Images,
Essential Logic,
Letta Mbulu,
Sandy B,
Crispian St. Peters,
The Stooges,
Fatback Band,
Au Pairs,
Supertramp,
Stereo Dub,
The Seeds,
Thompson Twins,
Kas Product,
Lonnie Liston Smith,
Make Up,
Alice Coltrane,
The Slits,
Flamin' Groovies,
Stiv Bators,
Con Funk Shun,
Funkadelic,
Sugar Minott,
Matthew Bourne,
AZ,
Rotary Connection,
KRS-One,
De La Soul & Jungle Brothers,
Cabaret Voltaire,
Lafayette Afro Rock Band,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.