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 Kazakhstan and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
I'm losing my edge to the art-school Lyon 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Marshall Jefferson to the funk kids.
I played it at the Troubador.
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 Wolf Eyes. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Vaughan Mason & Crew,
Arthur Verocai,
Kool Moe Dee,
La Düsseldorf,
The Smoke,
CMW,
Lightning Bolt,
Morten Harket,
Kool G Rap & DJ Polo,
Pantytec,
Avey Tare,
Drive Like Jehu,
The Sound,
The Gun Club,
Gang of Four,
Bauhaus,
Suburban Knight,
Terry Callier,
The Moody Blues,
Sight & Sound,
Y Pants,
Bobbi Humphrey,
Funkadelic,
Youth Brigade,
Sugar Minott,
The Beau Brummels,
Jandek,
Johnny Osbourne,
Brick,
Yusef Lateef,
H. Thieme,
Eli Mardock,
Howard Jones,
Dark Day,
Andrew Hill,
Lalo Schifrin,
ABBA,
Inner City,
Intrusion,
Loose Ends,
Dual Sessions,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bob Dylan,
Ajijia Myrayebe,
Todd Rundgren,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
The Associates,
Graham Central Station,
Jerry Gold Smith,
Country Joe & The Fish,
Thompson Twins,
Fat Boys,
Tubeway Army,
Animal Collective,
Bobby Hutcherson,
Interpol,
Rites of Spring,
Johnny Clarke,
Anthony Braxton,
Make Up, Make Up, Make Up, Make Up.
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.