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 Slovenia and from Winnipeg.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Major Organ And The Adding Machine to the grime kids.
I played it at CBGB's.
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 Fatback Band. All the underground hits.
All The Fire Engines 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 dance 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 a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Con Funk Shun,
Derrick May,
David Axelrod,
Gary Puckett & The Union Gap,
The Searchers,
Malaria!,
FM Einheit,
Essential Logic,
Anakelly,
Gang Green,
Ultra Naté,
Arcadia,
Stetsasonic,
Barry Ungar,
Kerri Chandler,
A Flock of Seagulls,
Eve St. Jones,
The Five Americans,
Hashim,
Gong,
the Bar-Kays,
Zero Boys,
Grandmaster Flash and the Furious Five,
Camberwell Now,
Tropical Tobacco,
Nas,
Index,
Röyhkä ja Rättö ja Lehtisalo,
Cymande,
Rhythm & Sound,
Roger Hodgson,
The Skatalites,
Ash Ra Tempel,
Heavy D & The Boyz,
Stockholm Monsters,
Adolescents,
The Leaves,
Agitation Free,
Eric Dolphy,
Ponytail,
Audionom,
Kauko Röyhkä ja Narttu,
Marcia Griffiths,
Black Bananas,
Grauzone,
Harpers Bizarre,
Wighnomy Brothers & Robag Wruhme,
Gang Gang Dance,
The Detroit Cobras,
Pantytec,
The Cure,
Avey Tare's Slasher Flicks,
Lyres,
Depeche Mode,
Peter and Kerry,
Dead Boys,
Spandau Ballet,
Bill Near,
Super Lover Cee & Casanova Rud,
Fifty Foot Hose,
Darondo,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.