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 Bolivia and from Stockholm.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Tehran 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 oboe sounds with much patience.
I was there when Lou Reed 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 Excepter to the grunge kids.
I played it at the Troubador.
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 Visage. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Avey Tare's Slasher Flicks,
Avey Tare,
R.M.O.,
Mandrill,
Marc Romboy vs. Booka Shade,
Jesper Dahlback,
Metal Thangz,
Avey Tare & Kría Brekkan,
Lucky Dragons,
The Birthday Party,
Public Image Ltd.,
Sun City Girls,
Lalo Schifrin,
The Shadows of Knight,
The Peanut Butter Conspiracy,
John Foxx,
Vaughan Mason & Crew,
Ronnie Foster,
Underground Resistance,
Crash Course in Science,
Robert Hood,
Sexual Harrassment,
The Music Machine,
Scrapy,
Malaria!,
New Age Steppers,
Danielle Patucci,
Wally Richardson,
Tubeway Army,
David Bowie,
Iggy Pop,
Mars,
Fort Wilson Riot,
Qualms,
Sight & Sound,
Yusef Lateef,
Bootsy Collins,
The Leaves,
KRS-One,
Davy DMX,
Circle Jerks,
CMW,
The Flesh Eaters,
The Smiths,
The Gories,
Aswad,
Easy Going,
Magazine,
Slave,
the Slits,
Massinfluence,
Rufus Thomas,
Jerry Gold Smith,
Minnie Riperton,
Moby Grape,
Eric Copeland,
Susan Cadogan,
Robert Görl,
Sparks,
The Count Five,
Dead Boys,
Yaz, Yaz, Yaz, Yaz.
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.