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 Nauru and from Paris.
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 Houston and Columbus.
I'm losing my edge to the art-school Houston 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 chamberlin 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 Andrew Ashong & Theo Parrish to the punk kids.
I played it at Trash.
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 Tres Demented. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
The Kinks,
The Stooges,
Underground Resistance,
Vainqueur,
Peter and Kerry,
48th St. Collective,
The Index,
U.S. Maple,
The Slackers,
Surgeon,
Robert Görl,
Kings Of Tomorrow,
Mo-Dettes,
Quadrant,
The Selecter,
Pharoah Sanders,
Todd Rundgren,
Banda Bassotti,
Lou Reed & Metallica,
Judy Mowatt,
Gang of Four,
Ronnie Foster,
Archie Shepp,
Gregory Isaacs,
JFA,
Bootsy's Rubber Band,
the Normal,
Country Teasers,
Jeru the Damaja,
Gerry Rafferty,
Marine Girls,
Second Layer,
Todd Terry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Althea and Donna,
Schoolly D,
Scion,
Wasted Youth,
Avey Tare & Kría Brekkan,
Warren Ellis,
Deadbeat,
John Cale,
Los Fastidios,
Pussy Galore,
Michelle Simonal,
Harpers Bizarre,
Nas,
Larry & the Blue Notes,
The Skatalites,
Warsaw,
Tim Buckley,
Young Marble Giants,
Jacob Miller,
The Birthday Party,
Ultimate Spinach,
Basic Channel,
The Toasters,
Isaac Hayes,
Bad Manners,
Gary Puckett & The Union Gap,
The Electric Prunes,
Echo & the Bunnymen,
The Seeds, The Seeds, The Seeds, The Seeds.
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.