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 Argentina and from Tokyo.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Stetsasonic to the disco kids.
I played it at the Hacienda.
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 ABBA. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Joyce Sims,
Absolute Body Control,
Crime,
James White and The Blacks,
Gil Scott-Heron & Brian Jackson,
Art Ensemble Of Chicago,
Beasts of Bourbon,
Aural Exciters,
The Alarm Clocks,
The Sonics,
MDC,
Supertramp,
Magazine,
The Moleskins,
Oneida,
Jeru the Damaja,
Marc Romboy vs. Booka Shade,
Little Man,
Pulsallama,
Con Funk Shun,
The Peanut Butter Conspiracy,
Richard Hell and the Voidoids,
Rakim,
Kevin Saunderson,
Das Ding,
Tom Boy,
Lyres,
Don Cherry,
Dark Day,
48th St. Collective,
The Motions,
Sonny Sharrock,
Scott Walker + Sunn O))),
Minnie Riperton,
Fluxion,
Loose Ends,
Mary Jane Girls,
Bob Dylan,
LL Cool J,
The Zeros,
Juan Atkins,
The Five Americans,
Marmalade,
Alphaville,
Connie Case,
Public Image Ltd.,
Heavy D & The Boyz,
Schoolly D,
Bluetip,
Pharaoh Sanders and the Fire Engines,
Gichy Dan,
Carl Craig,
Ultramagnetic MC's,
Avey Tare & Kría Brekkan,
Amon Düül II,
Stiv Bators,
Sugar Minott,
Swans,
Selector Dub Narcotic,
Lucky Dragons,
Gang Starr,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.