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 Austria and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Manila 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 808 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 Section 25 to the jazz 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 Graham Central Station. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Camron Feat. Memphis Bleek And Beenie Seigel,
Röyhkä ja Rättö ja Lehtisalo,
DJ Sneak,
The Barracudas,
Brand Nubian,
Glenn Branca,
Neu!,
The Saints,
Alphaville,
John Foxx,
Fort Wilson Riot,
Kool G Rap & DJ Polo,
The Sonics,
Jacques Brel,
Heavy D & The Boyz,
Marmalade,
Arcadia,
Magma,
Carl Craig,
the Human League,
Underground Resistance,
The Happenings,
The Offenders,
Hashim,
Zapp,
The Smoke,
John Coltrane,
Bluetip,
John Lydon,
Terry Callier,
Ituana,
The Durutti Column,
Mad Mike,
Lou Reed,
Sun Ra Arkestra,
the Sonics,
The Standells,
Shoche,
Deadbeat,
A Flock of Seagulls,
Grauzone,
Soft Machine,
Erykah Badu,
the Fania All-Stars,
Joe Smooth,
Avey Tare & Kría Brekkan,
Deutsch Amerikanische Freundschaft,
Panda Bear,
UT,
Public Image Ltd.,
The Peanut Butter Conspiracy,
Trumans Water,
Amazonics,
Sad Lovers and Giants,
Albert Ayler,
Gang Green,
Bob Dylan,
Pierre Henry,
Slave,
Piero Umiliani,
Black Bananas,
Boz Scaggs,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.