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 Pakistan and from Johannesburg.
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 1963 to 1974.
I'm losing my edge.
To all the kids in London and Paris.
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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Yusef Lateef to the jazz 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 The Doors. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every The Doors 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
Bang on a Can All-Stars,
Lindisfarne,
Derrick Morgan,
Groovy Waters,
The Move,
Black Moon,
Lalann,
Infiniti,
Ken Boothe,
Erasure,
Piero Umiliani,
Scott Walker + Sunn O))),
Second Layer,
Harry Pussy,
Schoolly D,
A Flock of Seagulls,
Andrew Hill,
Crispy Ambulance,
MC5,
Mo-Dettes,
Jacob Miller,
Pantaleimon,
New York Dolls,
Thee Headcoats,
kango's stein massive,
Jerry Gold Smith,
Drive Like Jehu,
T. Rex,
Faraquet,
The Residents,
B.T. Express,
Theoretical Girls,
The Index,
U.S. Maple,
The Grass Roots,
Mr. Review,
Funky Four + One,
Marc Almond,
Soulsonic Force,
The Fall,
Rufus Thomas,
La Düsseldorf,
Spoonie Gee,
The West Coast Pop Art Experimental Band,
Arab on Radar,
The Chocolate Watch Band,
Gil Scott-Heron and Jamie xx,
Althea and Donna,
Hashim,
Massinfluence,
Todd Terry,
Wire,
The Searchers,
Fort Wilson Riot,
Rites of Spring,
the Fania All-Stars,
The Monks, The Monks, The Monks, The Monks.
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.