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 Gabon and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Bremen 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Michelle Simonal to the crunk kids.
I played it at Trash.
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 Human League. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every A Certain Ratio 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 '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Bang on a Can All-Stars,
Pylon,
Scrapy,
Jesper Dahlbäck,
Leonard Cohen,
Pole,
Urselle,
Robert Wyatt,
the Association,
The Slits,
Peter and Kerry,
Outsiders,
Sun City Girls,
Röyhkä ja Rättö ja Lehtisalo,
Trumans Water,
Dennis Brown,
Q65,
The Selecter,
The Fortunes,
Black Bananas,
Terry Callier,
Flash Fearless,
Be Bop Deluxe,
John Holt,
Colin Newman,
Kings Of Tomorrow,
Yellowson,
Con Funk Shun,
Suburban Knight,
Godley & Creme,
Shuggie Otis,
Howard Jones,
Eric Dolphy,
James Chance & The Contortions,
Blancmange,
Groovy Waters,
Bang On A Can,
The Residents,
The Music Machine,
Idris Muhammad,
Kerri Chandler,
Richard Hell and the Voidoids,
Sugar Minott,
Can,
Darondo,
Jacob Miller,
Vainqueur,
Schoolly D,
Sister Nancy,
Big Daddy Kane,
Black Moon,
The J.B.'s,
Ralphi Rosario,
The Misunderstood,
Black Sheep,
This Heat,
X-101,
Banda Bassotti,
Barrington Levy,
Procol Harum,
Lizzy Mercier Descloux,
Magma,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.