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 Kyrgyzstan and from Manchester.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Edmonton 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 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 Michelle Simonal to the jazz kids.
I played it at the Spitz.
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 Thompson Twins. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Flamin' Groovies,
Electric Light Orchestra,
The Mummies,
Kool Moe Dee,
Wasted Youth,
Wings,
Don Cherry,
Black Pus,
Jandek,
Altered Images,
MDC,
Crash Course in Science,
Red Lorry Yellow Lorry,
One Last Wish,
Stetsasonic,
Sad Lovers and Giants,
Art Ensemble Of Chicago,
Cecil Taylor,
Eurythmics,
Grandmaster Flash,
Ten City,
Charles Mingus,
The Walker Brothers,
Anthony Braxton,
10cc,
Thinking Fellers Union Local 282,
cv313,
David Axelrod,
Archie Shepp,
Tropical Tobacco,
Magazine,
Zero Boys,
The Count Five,
Sister Nancy,
Dawn Penn,
Eyeless In Gaza,
The Doors,
Aaron Thompson,
The New Christs,
Bob Dylan,
Lonnie Liston Smith,
La Düsseldorf,
Excepter,
China Crisis,
The Dave Clark Five,
The Fuzztones,
The American Breed,
PIL,
Mark Hollis,
Derrick Morgan,
Radiohead,
The Beau Brummels,
Brand Nubian,
Shoche,
Fat Boys,
Jerry Gold Smith,
Gerry Rafferty,
Heaven 17,
Gregory Isaacs,
John Lydon,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.