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 Seychelles and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Tokyo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Alison Limerick to the jazz 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 Index. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Barrington Levy,
Terry Callier,
Deadbeat,
Royal Trux,
Jimmy McGriff,
Wire,
The Index,
Lafayette Afro Rock Band,
Gang of Four,
Gang Gang Dance,
The Monks,
Clear Light,
Terrestrial Tones,
The Standells,
H. Thieme,
Minnie Riperton,
Bizarre Inc.,
Scion,
David Bowie,
Eve St. Jones,
Anthony Braxton,
Albert Ayler,
Tres Demented,
The Detroit Cobras,
Matthew Bourne,
Maleditus Sound,
Orchestral Manoeuvres in the Dark,
The Electric Prunes,
Cybotron,
Niagra,
The Wake,
Charles Mingus,
Bobby Hutcherson,
Pulsallama,
Eyeless In Gaza,
Justin Hinds & The Dominoes,
Porter Ricks,
Half Japanese,
Blossom Toes,
Pharaoh Sanders and the Fire Engines,
Joe Finger,
Lou Reed & Metallica,
The Evens,
Camouflage,
Nils Olav,
OOIOO,
The Men They Couldn't Hang,
Circle Jerks,
Girls At Our Best!,
Excepter,
Sexual Harrassment,
the Association,
Pet Shop Boys,
Grandmaster Flash,
Rowland S Howard / Lydia Lunch,
The Sound,
E-Dancer,
Archie Shepp,
Jacob Miller,
Cal Tjader,
MDC,
Tubeway Army,
Liliput,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.