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 Ivory Coast and from Cairo.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Sticky Fingaz feat. Raekwon to the crunk kids.
I played it at the Roxy.
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 Sonics. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Flamin' Groovies record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Urselle,
New York Dolls,
Nik Kershaw,
Ten City,
Severed Heads,
The Cowsills,
The Golliwogs,
Minny Pops,
Black Flag,
Barbara Tucker,
The Moleskins,
Ludus,
Blancmange,
Guru Guru,
Gil Scott Heron,
Bootsy Collins,
Curtis Mayfield,
Smog,
Black Bananas,
Young Marble Giants,
Flash Fearless,
Joyce Sims,
Mark Hollis,
Average White Band,
The Smoke,
Major Organ And The Adding Machine,
Pulsallama,
Charles Mingus,
Crime,
Eddi Front,
Idris Muhammad,
Deutsch Amerikanische Freundschaft,
Robert Wyatt,
Jeru the Damaja,
Mad Mike,
Massinfluence,
Desert Stars,
Niagra,
Lonnie Liston Smith,
Monks,
Röyhkä ja Rättö ja Lehtisalo,
OOIOO,
The Remains,
Ornette Coleman,
The Residents,
Rosa Yemen,
Newcleus,
The Sisters of Mercy,
The Durutti Column,
DJ Sneak,
Brick,
Hot Snakes,
Andrew Hill,
The Index,
Donny Hathaway,
Make Up,
Dr. Dre and Snoop Doggy Dog,
Super Lover Cee & Casanova Rud,
Franke,
The Detroit Cobras,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.