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 Bahamas and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Fugazi to the grime kids.
I played it at the Hacienda.
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 Rosa Yemen. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every The Toasters 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 '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
T. Rex,
Rapeman,
Fluxion,
World's Most,
Warsaw,
Crash Course in Science,
Lou Christie,
Janne Schatter,
Mars,
Kerri Chandler,
Bobby Sherman,
Donny Hathaway,
Lou Reed & John Cale,
Bronski Beat,
Isaac Hayes,
Wings,
Warren Ellis,
The Detroit Cobras,
Maleditus Sound,
Nation of Ulysses,
Eric B and Rakim,
Jacob Miller,
Model 500,
Connie Case,
The Music Machine,
Gian Franco Pienzio,
Young Marble Giants,
Aswad,
One Last Wish,
Amon Düül,
New Order,
The United States of America,
Delta 5,
Scan 7,
Saccharine Trust,
Ultimate Spinach,
Minny Pops,
Little Man,
Strawberry Alarm Clock,
Bill Wells,
The Skatalites,
Mr. Review,
Notorious BIG live in Amsterdam,
Quadrant,
John Coltrane,
Terrestrial Tones,
Urselle,
Glambeats Corp.,
It's A Beautiful Day,
Sonny Sharrock,
Deutsch Amerikanische Freundschaft,
The Golliwogs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lee Hazlewood,
The Pop Group,
Tomorrow,
John Cale,
June of 44,
Metal Thangz,
The West Coast Pop Art Experimental Band,
Fear,
Rod Modell,
Darondo, Darondo, Darondo, Darondo.
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.