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 Monaco and from Portland.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Columbus.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 Arab on Radar to the techno 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 Moby Grape. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Arcadia 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Easy Going,
Moby Grape,
The West Coast Pop Art Experimental Band,
JFA,
The Cowsills,
Peter Gordon & Love of Life Orchestra,
Notorious Big And Bone Thugs,
Fad Gadget,
Maleditus Sound,
Pagans,
Roger Hodgson,
Jeff Lynne,
Hardrive,
Stockholm Monsters,
Deadbeat,
Cluster,
Black Moon,
Yusef Lateef,
X-102,
Junior Murvin,
Blossom Toes,
The Names,
Deutsch Amerikanische Freundschaft,
Soul Sonic Force,
Tres Demented,
Soft Machine,
Crispian St. Peters,
It's A Beautiful Day,
Lindisfarne,
Piero Umiliani,
Quadrant,
Sixth Finger,
Bang On A Can,
Kauko Röyhkä ja Narttu,
Robert Görl,
The Sisters of Mercy,
Donald Byrd,
Moss Icon,
Kayak,
Section 25,
Radiopuhelimet,
Barclay James Harvest,
The Smiths,
Circle Jerks,
Minny Pops,
Bill Wells,
Erykah Badu,
Fifty Foot Hose,
La Düsseldorf,
Motorama,
Brothers Johnson,
Tim Buckley,
the Sonics,
Mary Jane Girls,
Bizarre Inc.,
Andrew Hill,
Flash Fearless,
Barbara Tucker,
Gabor Szabo,
Radio Birdman,
The Barracudas,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.