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 Panama and from Philadelphia.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Tehran 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 arpeggiator 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 Camron Feat. Jay Z And Juelz to the punk kids.
I played it at the Troubador.
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 Toni Rubio. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Traffic Nightmare,
Lungfish,
The Busters,
The American Breed,
Peter & Gordon,
Public Image Ltd.,
Shoche,
The Index,
Dark Day,
La Düsseldorf,
The Count Five,
Yellowson,
Connie Case,
James Chance & The Contortions,
Desert Stars,
Pete Rock & C.L. Smooth,
X-102,
Prince Buster,
PIL,
Bobby Byrd,
The Divine Comedy,
Kerrie Biddell,
Ornette Coleman,
Roy Ayers Ubiquity,
Can,
Wings,
Kenny Larkin,
The Smiths,
Marmalade,
Public Enemy,
New Order,
Spandau Ballet,
the Soft Cell,
Popol Vuh,
Freddie Wadling,
Suburban Knight,
The Motions,
Radiopuhelimet,
Rapeman,
World's Most,
Scion,
Fifty Foot Hose,
Heavy D & The Boyz,
Rekid,
Kaleidoscope,
The Sonics,
Sight & Sound,
Television,
Sister Nancy,
Procol Harum,
Gil Scott-Heron & Brian Jackson,
The Slackers,
MDC,
Urselle,
DNA,
Bobby Sherman,
Steve Hackett,
Pere Ubu,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.