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 Singapore and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school London 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 Captain Beefheart 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 Alton Ellis 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 The Angels of Light. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Fatback Band,
Crash Course in Science,
DeepChord presents Echospace,
Can,
Rosa Yemen,
Lakeside,
Bad Manners,
Fluxion,
Kevin Saunderson,
Yusef Lateef,
X-101,
Bush Tetras,
Faraquet,
The Index,
Susan Cadogan,
DJ Sneak,
Shuggie Otis,
Scratch Acid,
The Tremeloes,
Model 500,
Amon Düül II,
The Walker Brothers,
Warsaw,
The Count Five,
Television Personalities,
Delon & Dalcan,
Wighnomy Brothers & Robag Wruhme,
Joensuu 1685,
Minor Threat,
The American Breed,
The Blues Magoos,
Andrew Hill,
Dead Boys,
Tim Buckley,
Cecil Taylor,
Nirvana,
Gerry Rafferty,
Gil Scott-Heron & Brian Jackson,
Public Enemy,
Avey Tare's Slasher Flicks,
Pantytec,
Neu!,
D'Angelo,
Rahsaan Roland Kirk,
One Last Wish,
The Offenders,
Beasts of Bourbon,
Cabaret Voltaire,
The Moleskins,
Vainqueur,
Camron Feat. Memphis Bleek And Beenie Seigel,
Toni Rubio,
Jacob Miller,
James Chance & The Contortions,
T.S.O.L.,
Black Pus,
The Victims,
Banda Bassotti,
Inner City,
Man Eating Sloth,
KRS-One,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.