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 Mexico and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Popol Vuh to the electroclash kids.
I played it at the Astoria.
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 Real Kids. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Popol Vuh 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 '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Gabor Szabo,
Crash Course in Science,
The Smiths,
Cybotron,
Porter Ricks,
The Monks,
R.M.O.,
Warsaw,
KRS-One,
Motorama,
Yusef Lateef,
Average White Band,
Bobby Womack,
Ken Boothe,
Heaven 17,
Notorious BIG live in Amsterdam,
E-Dancer,
Grey Daturas,
Goldenarms,
UT,
Pantaleimon,
Ohio Players,
Dennis Brown,
DeepChord presents Echospace,
Black Bananas,
The Skatalites,
Faust,
The Velvet Underground,
The Doobie Brothers,
The Last Poets,
Vladislav Delay,
Echospace,
Matthew Halsall,
Arthur Verocai,
Roxy Music,
Fluxion,
Jandek,
Scratch Acid,
The Mojo Men,
The Real Kids,
Supertramp,
Gang of Four,
Parry Music,
F. McDonald,
Saccharine Trust,
Bizarre Inc.,
Quadrant,
Reagan Youth,
AZ,
Matthew Bourne,
These Immortal Souls,
cv313,
Eric B and Rakim,
Bang on a Can All-Stars,
Rites of Spring,
Can,
Ponytail,
Charles Mingus,
Grandmaster Flash and the Furious Five,
Aloha Tigers,
Sixth Finger,
Yaz,
The New Christs, The New Christs, The New Christs, The New Christs.
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.