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 Marshall Islands and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Mumbai and Cairo.
I'm losing my edge to the art-school Johannesburg 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 snare 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 Audionom to the grime kids.
I played it at the Crocodile.
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 La Düsseldorf. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Mary Jane Girls 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Spoonie Gee,
Magazine,
The Angels of Light,
Arcadia,
Liaisons Dangereuses,
Godley & Creme,
DeepChord presents Echospace,
Aswad,
Liliput,
Johnny Osbourne,
Ultra Naté,
The Slits,
Animal Collective,
Eurythmics,
Oneida,
Unrelated Segments,
Essential Logic,
Bobby Sherman,
Franke,
KRS-One,
Stetsasonic,
Dead Boys,
Sunsets and Hearts,
Urselle,
Harpers Bizarre,
Maleditus Sound,
Dr. Dre and Snoop Doggy Dog,
Strawberry Alarm Clock,
Larry & the Blue Notes,
Barclay James Harvest,
Tomorrow,
David McCallum,
Soulsonic Force,
Nils Olav,
Television,
Max Romeo,
Electric Prunes,
Bob Dylan,
Whodini,
Radio Birdman,
Sarah Menescal,
A Certain Ratio,
Scott Walker,
Darondo,
Minny Pops,
Peter & Gordon,
Chris Corsano,
Oppenheimer Analysis,
Gang Green,
Nation of Ulysses,
Camberwell Now,
Soft Machine,
Nick Fraelich,
Rhythim Is Rhythim,
T. Rex,
FM Einheit,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.