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 Andorra and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Beijing 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 güiro 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 Camberwell Now to the techno kids.
I played it at Cafe Wha.
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 Eve St. Jones. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Country Joe & The Fish,
The Smoke,
DJ Style,
Unrelated Segments,
The Move,
Massinfluence,
Accadde A,
Röyhkä ja Rättö ja Lehtisalo,
Robert Görl,
Barclay James Harvest,
Heavy D & The Boyz,
the Fania All-Stars,
Rhythm & Sound,
The United States of America,
Black Bananas,
Justin Hinds & The Dominoes,
Pantaleimon,
Organ,
Angels of Light & Akron/Family,
Sugar Minott,
John Holt,
B.T. Express,
Kenny Larkin,
Fluxion,
China Crisis,
The Velvet Underground,
Desert Stars,
Sonny Sharrock,
Whodini,
Joyce Sims,
Motorama,
Qualms,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Basic Channel,
The Evens,
Frankie Knuckles,
Radiohead,
The Mummies,
Teenage Jesus and the Jerks,
Kas Product,
Minny Pops,
Circle Jerks,
The Moleskins,
Interpol,
Essential Logic,
Scratch Acid,
The West Coast Pop Art Experimental Band,
a-ha,
Wire,
Make Up,
Be Bop Deluxe,
Bauhaus,
Pierre Henry,
JFA,
Sticky Fingaz feat. Raekwon,
A Certain Ratio,
Lou Reed,
Derrick Morgan,
Hoover, Hoover, Hoover, Hoover.
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.