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 Japan and from Mumbai.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Columbus 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 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 Royal Trux to the grime 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 Piero Umiliani. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Harmonia 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Joyce Sims,
MC5,
Man Eating Sloth,
Half Japanese,
Public Enemy,
Joe Finger,
Pete Rock & C.L. Smooth,
CMW,
Eli Mardock,
Porter Ricks,
Kenny Larkin,
Kas Product,
Barrington Levy,
Eden Ahbez,
Moby Grape,
Notorious Big And Bone Thugs,
Ajijia Myrayebe,
Make Up,
Rowland S Howard / Lydia Lunch,
Jeru the Damaja,
The Men They Couldn't Hang,
Dorothy Ashby,
Agent Orange,
Cameo,
Arab on Radar,
The Skatalites,
The Techniques,
Jesper Dahlback,
Freddie Wadling,
Spandau Ballet,
Technova,
Gabor Szabo,
The Names,
FM Einheit,
Whodini,
Royal Trux,
Hashim,
The American Breed,
Masters at Work,
Funky Four + One,
The Trojans,
The Blues Magoos,
The Gun Club,
Suicide,
Derrick Morgan,
Trumans Water,
Clear Light,
Lou Reed & John Cale,
Blancmange,
Sam Rivers,
Deakin,
The Wake,
Howard Jones,
Nas,
Drive Like Jehu,
Con Funk Shun,
The Mojo Men,
Röyhkä ja Rättö ja Lehtisalo,
Erykah Badu,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.