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 Samoa and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Columbus and Madrid.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 MDC to the crunk kids.
I played it at the 40 Watt.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
cv313,
Notorious BIG live in Amsterdam,
Jeru the Damaja,
Echospace,
Bill Near,
Brand Nubian,
Liaisons Dangereuses,
Faraquet,
Sugar Minott,
Quantec,
Fort Wilson Riot,
Index,
Rosa Yemen,
Röyhkä ja Rättö ja Lehtisalo,
Ponytail,
Teenage Jesus and the Jerks,
Eve St. Jones,
Archie Shepp,
Faust,
The Royal Family And The Poor,
The Smiths,
Main Source,
Jesper Dahlbäck,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scott Walker + Sunn O))),
Byron Stingily,
Bang on a Can All-Stars,
Interpol,
The Doors,
Bronski Beat,
Q and Not U,
The Skatalites,
Nils Olav,
Minnie Riperton,
Albert Ayler,
Scott Walker,
Bauhaus,
Morten Harket,
Anthony Braxton,
Ultramagnetic MC's,
Public Image Ltd.,
Second Layer,
Model 500,
Ralphi Rosario,
Kayak,
Black Flag,
Aaron Thompson,
Minny Pops,
Beasts of Bourbon,
Animal Collective,
Louis and Bebe Barron,
Sonny Sharrock,
La Düsseldorf,
Avey Tare & Kría Brekkan,
John Coltrane,
Warsaw,
Grey Daturas,
Visionaries,LMNO, T- Love & Iriscience,
Average White Band,
John Cale,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.