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 Angola and from Woodstock.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Stockholm.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 The Royal Family And The Poor to the jazz 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 Suicide. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal funk 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
The Evens,
Lebanon Hanover,
Essential Logic,
The Wake,
Black Moon,
Ponytail,
The Neon Judgement,
Severed Heads,
Slave,
B.T. Express,
Ohio Players,
Hasil Adkins,
Piero Umiliani,
Larry & the Blue Notes,
Dead Boys,
the Swans,
Nation of Ulysses,
Pantytec,
Peter Gordon & Love of Life Orchestra,
Gregory Isaacs,
The Slits,
Nik Kershaw,
The Fire Engines,
Eric Copeland,
Joe Smooth,
Harry Pussy,
Mission of Burma,
Country Teasers,
It's A Beautiful Day,
Derrick May,
KRS-One,
Godley & Creme,
Gil Scott-Heron & Brian Jackson,
The Real Kids,
The Alarm Clocks,
The Moleskins,
James White and The Blacks,
The Sisters of Mercy,
Althea and Donna,
One Last Wish,
Trumans Water,
Jacob Miller,
Niagra,
Animal Collective,
Rod Modell,
Sam Rivers,
Faraquet,
June of 44,
The Music Machine,
Bobby Womack,
The Doors,
Guru Guru,
Dawn Penn,
Soft Cell,
Barbara Tucker,
Captain Beefheart & His Magic Band,
Skriet,
Panda Bear,
The Fugs,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.