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 France and from New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin 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 Moss Icon to the electroclash 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 The Men They Couldn't Hang. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Röyhkä ja Rättö ja Lehtisalo,
Fugazi,
Grey Daturas,
Albert Ayler,
Ornette Coleman,
Basic Channel,
Amazonics,
Pulsallama,
Pete Rock & C.L. Smooth,
Frankie Knuckles,
Lee Hazlewood,
Urselle,
Icehouse,
Rahsaan Roland Kirk,
Guru Guru,
Young Marble Giants,
Cluster,
Jerry's Kids,
PIL,
Morten Harket,
This Heat,
Crime,
kango's stein massive,
The Smiths,
Black Sheep,
Mr. Review,
Howard Jones,
Tomorrow,
Justin Hinds & The Dominoes,
The Red Krayola,
Brick,
Reagan Youth,
Letta Mbulu,
Blake Baxter,
Alice Coltrane,
Agent Orange,
Lyres,
Roy Ayers,
Teenage Jesus and the Jerks,
Man Parrish,
Nation of Ulysses,
UT,
Loose Ends,
The Alarm Clocks,
Harry Pussy,
Minutemen,
Lou Reed,
Man Eating Sloth,
Audionom,
The Stooges,
Ituana,
Panda Bear,
The Dave Clark Five,
June of 44,
Kool Moe Dee,
Peter and Kerry,
Malaria!,
Visage,
Echo & the Bunnymen,
Bang On A Can,
Soul Sonic Force,
Drexciya,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.