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 Papua New Guinea and from Manchester.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Manchester 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 rhodes 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 L. Decosne to the techno kids.
I played it at the Roxy.
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 Crash Course in Science. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Kool G Rap & DJ Polo,
The Fire Engines,
Television,
Laurel Aitken,
Rhythm & Sound,
Groovy Waters,
Intrusion,
Skriet,
Letta Mbulu,
Neu!,
Brass Construction,
CMW,
8 Eyed Spy,
Spoonie Gee,
Rosa Yemen,
Maurizio,
Gong,
Visage,
Das Ding,
Technova,
Average White Band,
Be Bop Deluxe,
Arab on Radar,
Mars,
Rowland S Howard / Lydia Lunch,
The Cowsills,
Tim Buckley,
Eli Mardock,
Jandek,
KRS-One,
The Move,
Gabor Szabo,
Joey Negro,
Sixth Finger,
Thinking Fellers Union Local 282,
Soul II Soul,
Terrestrial Tones,
Iggy Pop,
the Bar-Kays,
Avey Tare,
Junior Murvin,
World's Most,
Camron Feat. Memphis Bleek And Beenie Seigel,
Byron Stingily,
The Toasters,
Terry Callier,
Flamin' Groovies,
Rahsaan Roland Kirk,
Louis and Bebe Barron,
Cabaret Voltaire,
Chris & Cosey,
Avey Tare's Slasher Flicks,
This Heat,
The Misunderstood,
Sister Nancy,
Glenn Branca,
Bang on a Can All-Stars,
Harry Pussy,
AZ,
Pole, Pole, Pole, Pole.
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.