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 Jordan and from Tokyo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Nick Fraelich to the funk kids.
I played it at Cafe Wha.
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 Neil Young. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Gastr Del Sol,
Underground Resistance,
Matthew Halsall,
Magazine,
Black Pus,
Liaisons Dangereuses,
Rhythm & Sound,
Junior Murvin,
The Residents,
The Associates,
Wire,
Hardrive,
Pantytec,
Pharoah Sanders,
Urselle,
The Pop Group,
World's Most,
Average White Band,
Freddie Wadling,
Lafayette Afro Rock Band,
Moebius,
Zero Boys,
The Blues Magoos,
Thompson Twins,
Gang Green,
Radiopuhelimet,
Judy Mowatt,
OOIOO,
La Düsseldorf,
Excepter,
Shoche,
Kas Product,
Man Parrish,
The Count Five,
PIL,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
It's A Beautiful Day,
Anthony Braxton,
The Chocolate Watch Band,
Sister Nancy,
Sixth Finger,
Be Bop Deluxe,
Eddi Front,
Moby Grape,
Tomorrow,
Howard Jones,
David Axelrod,
the Fania All-Stars,
The Music Machine,
Basic Channel,
Piero Umiliani,
Dead Boys,
Tropical Tobacco,
the Normal,
The Sonics,
MC5,
John Coltrane,
Gabor Szabo,
Theoretical Girls,
Black Moon,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.