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 Haiti and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Shanghai 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 snare 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 Dual Sessions to the grunge kids.
I played it at the Spitz.
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 CMW. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Boredoms,
The Red Krayola,
Sight & Sound,
Jawbox,
The Vogues,
Nation of Ulysses,
Skriet,
The Cure,
Wolf Eyes,
Cybotron,
London Community Gospel Choir,
Nick Fraelich,
Quando Quango,
Quantec,
Minnie Riperton,
Moebius,
The Count Five,
Warren Ellis,
Aaron Thompson,
Unwound,
John Holt,
Public Enemy,
Chris Corsano,
Average White Band,
Juan Atkins,
Yellowson,
Sarah Menescal,
Larry & the Blue Notes,
Young Marble Giants,
Electric Light Orchestra,
Kauko Röyhkä ja Narttu,
Model 500,
Skaos,
Harmonia,
Loose Ends,
The West Coast Pop Art Experimental Band,
The Slackers,
Isaac Hayes,
Guru Guru,
B.T. Express,
Gil Scott-Heron and Jamie xx,
The Selecter,
Depeche Mode,
Wally Richardson,
Gary Puckett & The Union Gap,
New Order,
the Swans,
Scion,
The Residents,
Alton Ellis,
Lakeside,
Black Flag,
David Axelrod,
The Men They Couldn't Hang,
Bootsy's Rubber Band,
Drive Like Jehu,
Fugazi,
Scrapy,
Gil Scott-Heron & Brian Jackson,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.