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 Tunisia and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Toronto 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 guitar 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 Ralphi Rosario to the punk kids.
I played it at the Crocodile.
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 ABC. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal funk 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Dark Day,
The Toasters,
Qualms,
Dual Sessions,
Ludus,
Moss Icon,
Grauzone,
Altered Images,
Delta 5,
cv313,
Grey Daturas,
Black Pus,
Agitation Free,
Pulsallama,
Flamin' Groovies,
The Count Five,
Con Funk Shun,
Ronan,
The Moleskins,
48th St. Collective,
Sparks,
The Velvet Underground,
Nick Fraelich,
Alice Coltrane,
Kerri Chandler,
Leonard Cohen,
The Music Machine,
EPMD,
James White and The Blacks,
Fela Kuti,
Bootsy Collins,
Faust,
Lyres,
Morten Harket,
Cymande,
The Pop Group,
CMW,
Roger Hodgson,
Royal Trux,
Ultra Naté,
The Busters,
Kurtis Blow,
The Selecter,
Beasts of Bourbon,
Fatback Band,
Quando Quango,
Slave,
Röyhkä ja Rättö ja Lehtisalo,
Kas Product,
Charles Mingus,
the Fania All-Stars,
World's Most,
Sexual Harrassment,
Scion,
Thee Headcoats,
L. Decosne,
Intrusion,
Television,
Soft Cell,
Manfred Mann's Earth Band,
Eli Mardock,
Andrew Hill,
Rapeman, Rapeman, Rapeman, Rapeman.
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.