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 Mongolia and from Lyon.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Drexciya to the jazz kids.
I played it at Trash.
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 Slave. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every The Tremeloes 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Ronan,
Eric B and Rakim,
Mark Hollis,
Excepter,
Liaisons Dangereuses,
Janne Schatter,
Lou Reed & Metallica,
Gregory Isaacs,
The Peanut Butter Conspiracy,
Theoretical Girls,
Second Layer,
DNA,
Motorama,
Patti Smith,
Sugar Minott,
Sun Ra,
Oblivians,
Reuben Wilson,
Absolute Body Control,
Bobby Hutcherson,
Jacques Brel,
Drive Like Jehu,
Index,
Harpers Bizarre,
the Bar-Kays,
David Bowie,
H. Thieme,
Eve St. Jones,
Surgeon,
The Five Americans,
Letta Mbulu,
Panda Bear,
The Mighty Diamonds,
The Pretty Things,
8 Eyed Spy,
Livin' Joy,
The Black Dice,
Derrick May,
Sun Ra Arkestra,
Soft Machine,
Avey Tare & Kría Brekkan,
Loose Ends,
Art Ensemble Of Chicago,
Metal Thangz,
Judy Mowatt,
K-Klass,
Alton Ellis,
The Buckinghams,
Röyhkä ja Rättö ja Lehtisalo,
Heavy D & The Boyz,
David Axelrod,
Nick Fraelich,
Glenn Branca,
LL Cool J,
Prince Buster,
Anthony Braxton,
The Birthday Party,
Todd Rundgren,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.