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 Liechtenstein and from Tokyo.
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 1963 to 1972.
I'm losing my edge.
To all the kids in New York and Beijing.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Terrestrial Tones to the techno kids.
I played it at CBGB's.
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 kango's stein massive. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Ronnie Foster,
Pere Ubu,
The Detroit Cobras,
Bobbi Humphrey,
Grauzone,
Rites of Spring,
New Age Steppers,
Second Layer,
The Golliwogs,
Brass Construction,
Aswad,
Roger Hodgson,
Cluster,
Gary Puckett & The Union Gap,
Gerry Rafferty,
Matthew Bourne,
Japan,
the Bar-Kays,
Hot Snakes,
Bobby Sherman,
Wally Richardson,
Kings Of Tomorrow,
The Names,
Rhythim Is Rhythim,
Eyeless In Gaza,
Sugar Minott,
Heavy D & The Boyz,
Barry Ungar,
Joensuu 1685,
The Young Rascals,
The Dave Clark Five,
Nils Olav,
Tears for Fears,
Anthony Braxton,
Black Moon,
Kerrie Biddell,
The Modern Lovers,
Liaisons Dangereuses,
Amon Düül II,
Agitation Free,
Fluxion,
Chrome,
CMW,
Porter Ricks,
Moebius,
Stereo Dub,
Deadbeat,
Iggy Pop,
Pete Rock & C.L. Smooth,
Fatback Band,
Sex Pistols,
kango's stein massive,
The Leaves,
Grandmaster Flash,
Ultravox,
Freddie Wadling,
Adolescents,
T.S.O.L.,
Bootsy's Rubber Band,
Pharoah Sanders,
The Pop Group,
Connie Case, Connie Case, Connie Case, Connie Case.
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.