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 London.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Lagos 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 synthesizer 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 Jawbox to the disco 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 Swell Maps. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Masters at Work,
Vaughan Mason & Crew,
Eden Ahbez,
John Coltrane,
James Chance & The Contortions,
Chris & Cosey,
The United States of America,
Lou Reed,
Youth Brigade,
The Doobie Brothers,
X-Ray Spex,
Kauko Röyhkä ja Narttu,
Nirvana,
The Standells,
The Saints,
The Grass Roots,
Second Layer,
Interpol,
Boz Scaggs,
X-101,
Desert Stars,
Marc Romboy vs. Booka Shade,
Wings,
Trumans Water,
Eric Copeland,
Nation of Ulysses,
The Barracudas,
Animal Collective,
MC5,
KRS-One,
Au Pairs,
Brass Construction,
Mr. Review,
H. Thieme,
Funkadelic,
Crispy Ambulance,
Visionaries,LMNO, T- Love & Iriscience,
Los Fastidios,
Ultravox,
Eli Mardock,
the Association,
Pulsallama,
Mandrill,
Stiv Bators,
Rod Modell,
The Last Poets,
Agent Orange,
Lower 48,
Pharoah Sanders,
Metal Thangz,
Scientists,
Zero Boys,
James White and The Blacks,
Deadbeat,
Arthur Verocai,
Avey Tare,
The Leaves,
Lalo Schifrin,
New Order,
Mars,
Letta Mbulu,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.