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 Bulgaria and from Salvador.
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 1970.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Lagos 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 10cc to the grunge 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 Ken Boothe. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Whodini,
Kool Moe Dee,
The Cramps,
L. Decosne,
Masters at Work,
Jandek,
Thinking Fellers Union Local 282,
Freddie Wadling,
The Standells,
Lalo Schifrin,
Roy Ayers Ubiquity,
Outsiders,
Khruangbin,
The Fugs,
Röyhkä ja Rättö ja Lehtisalo,
48th St. Collective,
Dawn Penn,
T.S.O.L.,
Youth Brigade,
Boredoms,
Mission of Burma,
The Monks,
David McCallum,
The Red Krayola,
Danielle Patucci,
Monks,
Juan Atkins,
Morten Harket,
Peter and Kerry,
The Toasters,
The Sonics,
Todd Terry,
Girls At Our Best!,
Tomorrow,
Lyres,
Trumans Water,
Arcadia,
Electric Light Orchestra,
Talk Talk,
the Association,
Beasts of Bourbon,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Marcia Griffiths,
Tropical Tobacco,
Tres Demented,
Lightning Bolt,
Bill Near,
The Residents,
Deakin,
Ornette Coleman,
Kayak,
Hasil Adkins,
The Doors,
The Gories,
Jacob Miller,
The Shadows of Knight,
Average White Band,
The Music Machine,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.