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 Kenya and from Portland.
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 Johannesburg and Hong Kong.
I'm losing my edge to the art-school Bologna 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 spring reverb 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 Make Up to the rap 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 Alton Ellis. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Patti Smith 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 '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Skaos,
Neil Young,
Crooked Eye,
Rotary Connection,
Ultra Naté,
Negative Approach,
Stetsasonic,
The Victims,
The Mummies,
Kool Moe Dee,
The Buckinghams,
Section 25,
Monks,
Tropical Tobacco,
Lou Christie,
Fat Boys,
Lyres,
Oppenheimer Analysis,
Louis and Bebe Barron,
The Move,
Saccharine Trust,
Aloha Tigers,
The Last Poets,
Zero Boys,
Yazoo,
Anakelly,
Steve Hackett,
John Lydon,
Subhumans,
Grey Daturas,
JFA,
The West Coast Pop Art Experimental Band,
Hoover,
Organ,
Cymande,
Rufus Thomas,
Ralphi Rosario,
Mission of Burma,
Marvin Gaye,
Ice-T,
Eli Mardock,
Chris Corsano,
Tom Boy,
the Sonics,
Arab on Radar,
Con Funk Shun,
The Dave Clark Five,
The Smiths,
Derrick May,
U.S. Maple,
Public Enemy,
Bang On A Can,
Fifty Foot Hose,
Marmalade,
The Cosmic Jokers,
Lalann,
Bronski Beat,
Heavy D & The Boyz,
Nick Fraelich,
Fela Kuti,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.