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 Mexico and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 World's Most to the crunk kids.
I played it at the Astoria.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Jacques Brel,
Pantaleimon,
Mars,
Jesper Dahlbäck,
Bill Near,
Bobbi Humphrey,
Kings Of Tomorrow,
Average White Band,
Sun Ra Arkestra,
The Names,
the Germs,
the Human League,
Parry Music,
the Normal,
Chris Corsano,
Reuben Wilson,
The Offenders,
Harry Pussy,
Tears for Fears,
The West Coast Pop Art Experimental Band,
Pole,
H. Thieme,
Sad Lovers and Giants,
Inner City,
Max Romeo,
The Residents,
Grauzone,
Minutemen,
Roy Ayers Ubiquity,
LL Cool J,
Pierre Henry,
Lonnie Liston Smith,
Jandek,
Andrew Ashong & Theo Parrish,
The Detroit Cobras,
Fear,
Ohio Players,
Terrestrial Tones,
Mad Mike,
Chris & Cosey,
the Slits,
Ituana,
Freddie Wadling,
Harmonia,
Underground Resistance,
Mr. Review,
Model 500,
The Victims,
Gabor Szabo,
Captain Beefheart & His Magic Band,
Neil Young & Crazy Horse,
Au Pairs,
The Doors,
Justin Hinds & The Dominoes,
Siouxsie and the Banshees,
The Grass Roots,
the Association,
Chrome,
Icehouse,
Stereo Dub,
Donny Hathaway,
Black Pus, Black Pus, Black Pus, Black Pus.
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.