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 Benin and from Tehran.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school New York 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Maleditus Sound to the jazz 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 Matthew Halsall. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal techno 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 a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Parry Music,
Vaughan Mason & Crew,
Siglo XX,
KRS-One,
Hoover,
Soul II Soul,
Fela Kuti,
The Flesh Eaters,
Jesper Dahlback,
Skaos,
8 Eyed Spy,
Adolescents,
Susan Cadogan,
The Royal Family And The Poor,
Sister Nancy,
Scan 7,
Cabaret Voltaire,
Pagans,
Chrome,
Terry Callier,
Icehouse,
Interpol,
Supertramp,
Gastr Del Sol,
Boredoms,
Qualms,
Desert Stars,
Popol Vuh,
The Moleskins,
The Kinks,
Silicon Teens,
Lakeside,
The Mojo Men,
Bang on a Can All-Stars,
Röyhkä ja Rättö ja Lehtisalo,
Arab on Radar,
Harpers Bizarre,
Curtis Mayfield,
Accadde A,
Black Flag,
In Retrospect,
Reagan Youth,
DJ Sneak,
Big Daddy Kane,
The Slits,
Judy Mowatt,
Kerrie Biddell,
Rhythm & Sound,
The Toasters,
Clear Light,
Ajijia Myrayebe,
Aswad,
World's Most,
The Names,
Boz Scaggs,
L. Decosne,
Wolf Eyes,
Severed Heads,
Main Source,
Panda Bear,
The Move,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.