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 Trinidad & Tobago and from Seoul.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Cairo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Rhythm & Sound to the dance kids.
I played it at the 40 Watt.
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 Mad Mike. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Talk Talk,
Accadde A,
Khruangbin,
Fear,
Lyres,
Eric Copeland,
The Tremeloes,
Fat Boys,
Ajijia Myrayebe,
Gil Scott-Heron and Jamie xx,
Liliput,
Stetsasonic,
James Chance & The Contortions,
Bang on a Can All-Stars,
Banda Bassotti,
The Men They Couldn't Hang,
Bush Tetras,
Kool Moe Dee,
Kool G Rap & DJ Polo,
Spoonie Gee,
Boz Scaggs,
Sun City Girls,
The Zeros,
Deadbeat,
Janne Schatter,
Sarah Menescal,
The Cowsills,
John Coltrane,
Johnny Osbourne,
Alison Limerick,
Danielle Patucci,
The Red Krayola,
Sight & Sound,
a-ha,
ABBA,
Roy Ayers Ubiquity,
Godley & Creme,
Susan Cadogan,
Jacques Brel,
DJ Style,
Infiniti,
Pagans,
Ituana,
The Blues Magoos,
The American Breed,
Kerri Chandler,
Japan,
Make Up,
Iggy Pop,
Eden Ahbez,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lakeside,
Visage,
Second Layer,
Excepter,
Albert Ayler,
Yaz,
Marcia Griffiths,
The Evens,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.