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 Malawi and from Tehran.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Minny Pops to the dance 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 Con Funk Shun. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Heavy D & The Boyz,
Q65,
Average White Band,
48th St. Collective,
Michelle Simonal,
Chris & Cosey,
Junior Murvin,
Pharoah Sanders,
The Blackbyrds,
Newcleus,
Sixth Finger,
The Saints,
Amon Düül,
Desert Stars,
The Smiths,
Lafayette Afro Rock Band,
the Bar-Kays,
Soft Machine,
The Knickerbockers,
The Peanut Butter Conspiracy,
Roy Ayers,
Rapeman,
Saccharine Trust,
The Royal Family And The Poor,
Popol Vuh,
the Germs,
Jacques Brel,
De La Soul & Jungle Brothers,
The Monochrome Set,
Wolf Eyes,
Nico,
The Neon Judgement,
Tears for Fears,
Howard Jones,
The Walker Brothers,
Arcadia,
The Modern Lovers,
Terry Callier,
Laurel Aitken,
The Electric Prunes,
MC5,
Das Ding,
Lalo Schifrin,
Rotary Connection,
Mo-Dettes,
Jeff Mills,
Neil Young,
Gabor Szabo,
Rhythim Is Rhythim,
the Soft Cell,
Ultimate Spinach,
The Gap Band,
Pharaoh Sanders and the Fire Engines,
The Motions,
Monks,
Ornette Coleman,
Scan 7,
The American Breed,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.