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 Zambia and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school London 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 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 The Five Americans to the techno 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 The Techniques. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Kool Moe Dee,
The Offenders,
Scan 7,
Derrick May,
Eve St. Jones,
Graham Central Station,
Rahsaan Roland Kirk,
Scientists,
U.S. Maple,
Bill Wells,
Connie Case,
PIL,
Camouflage,
Kaleidoscope,
Dennis Brown,
Peter and Kerry,
Harpers Bizarre,
DJ Sneak,
Pantaleimon,
Mars,
Half Japanese,
Yusef Lateef,
The Monks,
Deadbeat,
Stiv Bators,
MDC,
Black Bananas,
Cabaret Voltaire,
The Detroit Cobras,
the Human League,
John Coltrane,
The Cramps,
Reagan Youth,
The Gap Band,
Rod Modell,
Warsaw,
Bang on a Can All-Stars,
Duran Duran,
Gang Green,
Ice-T,
Model 500,
Lou Reed & John Cale,
Crime,
Television Personalities,
Rufus Thomas,
Sly & The Family Stone,
The Skatalites,
The Cosmic Jokers,
Matthew Halsall,
Gil Scott-Heron & Brian Jackson,
Lizzy Mercier Descloux,
Sad Lovers and Giants,
KRS-One,
Alton Ellis,
The Happenings,
DeepChord presents Echospace,
The Sisters of Mercy,
Absolute Body Control,
Isaac Hayes,
Young Marble Giants,
Kool G Rap & DJ Polo,
Ultravox, Ultravox, Ultravox, Ultravox.
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.