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 Gambia and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 New York and Beijing.
I'm losing my edge to the art-school Paris 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Ornette Coleman to the jazz kids.
I played it at the Troubador.
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 Motions. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every The Black Dice 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Deutsch Amerikanische Freundschaft,
Fugazi,
PIL,
The Grass Roots,
Technova,
The Associates,
The Music Machine,
Rhythm & Sound,
Lower 48,
Zapp,
Basic Channel,
Marc Romboy vs. Booka Shade,
Tears for Fears,
One Last Wish,
Nirvana,
Bobby Byrd,
Symarip,
Jesper Dahlback,
Sight & Sound,
Brass Construction,
Arab on Radar,
Siouxsie and the Banshees,
Lee Hazlewood,
Pulsallama,
Arthur Verocai,
Jerry Gold Smith,
Freddie Wadling,
X-102,
Lou Reed & Metallica,
Alison Limerick,
Camouflage,
Youth Brigade,
Lou Christie,
Theoretical Girls,
Niagra,
In Retrospect,
Anthony Braxton,
Buzzcocks,
Smog,
Flamin' Groovies,
Reuben Wilson,
KRS-One,
Lyres,
Art Ensemble Of Chicago,
The Modern Lovers,
Terry Callier,
Warsaw,
Eric B and Rakim,
Sun City Girls,
Tubeway Army,
Morten Harket,
Amon Düül,
the Swans,
Neil Young & Crazy Horse,
The Golliwogs,
Graham Central Station,
DeepChord presents Echospace,
Erykah Badu,
Warren Ellis,
Porter Ricks,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.