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 Congo and from Accra.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1962 to 1978.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Stockholm 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 güiro 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 Pylon to the techno kids.
I played it at Cafe Wha.
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 The Remains. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Dead Boys,
The Tremeloes,
Wolf Eyes,
Gichy Dan,
Public Enemy,
Magma,
The Human League,
the Sonics,
Little Man,
The Peanut Butter Conspiracy,
The Fire Engines,
Brothers Johnson,
Mantronix,
The Pretty Things,
Model 500,
Gil Scott-Heron & Brian Jackson,
Loose Ends,
Moss Icon,
Kings Of Tomorrow,
Dark Day,
Marvin Gaye,
Dr. Dre and Snoop Doggy Dog,
Jandek,
Jimmy McGriff,
The Modern Lovers,
Delon & Dalcan,
Khruangbin,
Kerri Chandler,
Joe Smooth,
Outsiders,
Minny Pops,
Aloha Tigers,
Unrelated Segments,
The Selecter,
Howard Jones,
The Slackers,
The Wake,
Kenny Larkin,
Harpers Bizarre,
The Moleskins,
The Black Dice,
Rakim,
Fatback Band,
The Sisters of Mercy,
Gong,
The J.B.'s,
DeepChord presents Echospace,
Pussy Galore,
Bang on a Can All-Stars,
Amazonics,
MDC,
The Five Americans,
Bootsy Collins,
Colin Newman,
Lalann,
Soulsonic Force,
Dave Gahan,
Hoover,
Kas Product,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.