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 France and from Seoul.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Bush Tetras to the techno 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 Gang Starr. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Jawbox,
The Pretty Things,
DeepChord presents Echospace,
Minor Threat,
The Alarm Clocks,
This Heat,
Bauhaus,
DNA,
Patti Smith,
The Sisters of Mercy,
ABC,
Television,
Maurizio,
Sun Ra,
Richard Hell and the Voidoids,
Reuben Wilson,
The Black Dice,
Ronnie Foster,
Marc Almond,
Cabaret Voltaire,
Visionaries,LMNO, T- Love & Iriscience,
Rapeman,
Au Pairs,
Kool Moe Dee,
Cymande,
Tres Demented,
Tears for Fears,
K-Klass,
The Blackbyrds,
Interpol,
Heavy D & The Boyz,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Guru Guru,
Jandek,
Traffic Nightmare,
Public Image Ltd.,
Scott Walker,
Brand Nubian,
Porter Ricks,
Neil Young,
The Cowsills,
Zero Boys,
Bobby Hutcherson,
The Golliwogs,
E-Dancer,
The Trojans,
Black Flag,
Joe Smooth,
Lou Reed & Metallica,
Eric B and Rakim,
The West Coast Pop Art Experimental Band,
James Chance & The Contortions,
Howard Jones,
Zapp,
Flipper,
Eurythmics,
Marvin Gaye,
The Gun Club,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.