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 Kenya and from Houston.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Paris 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 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 Alarm Clocks to the grime kids.
I played it at Trash.
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 Fugs. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Rosa Yemen 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Boogie Down Productions,
The Index,
The Gories,
Los Fastidios,
Boz Scaggs,
Faraquet,
Unrelated Segments,
Theoretical Girls,
James White and The Blacks,
The Barracudas,
Cabaret Voltaire,
The Move,
Rapeman,
Cecil Taylor,
Icehouse,
L. Decosne,
Moebius,
Reuben Wilson,
Sixth Finger,
R.M.O.,
Laurel Aitken,
Max Romeo,
The Happenings,
MDC,
Mo-Dettes,
Sound Behaviour,
Ludus,
Groovy Waters,
Al Stewart,
The Dirtbombs,
Deakin,
Deadbeat,
Connie Case,
Don Cherry,
Soul II Soul,
Marine Girls,
Derrick Morgan,
The Count Five,
Warren Ellis,
Dark Day,
The Cosmic Jokers,
Minutemen,
Sarah Menescal,
Main Source,
Sun Ra Arkestra,
X-Ray Spex,
The Golliwogs,
Grandmaster Flash,
Country Teasers,
KRS-One,
Gang Starr,
Archie Shepp,
The Techniques,
Rites of Spring,
New York Dolls,
Alton Ellis,
Jimmy McGriff,
Albert Ayler,
Camron Feat. Memphis Bleek And Beenie Seigel,
Delta 5,
The Men They Couldn't Hang,
Be Bop Deluxe,
The Doors,
MC5, MC5, MC5, MC5.
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.