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 Kazakhstan and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Tehran 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 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 Kas Product to the rock kids.
I played it at the Troubador.
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 Sandy B. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Quantec,
Marshall Jefferson,
Stockholm Monsters,
Kurtis Blow,
Aaron Thompson,
Peter Gordon & Love of Life Orchestra,
David Bowie,
Lungfish,
The Fuzztones,
Boogie Down Productions,
Rapeman,
Gabor Szabo,
The Moleskins,
Maurizio,
Jeff Mills,
Second Layer,
Susan Cadogan,
Ultramagnetic MC's,
Oppenheimer Analysis,
Panda Bear,
Minutemen,
Rhythim Is Rhythim,
The Modern Lovers,
The Dead C,
Alice Coltrane,
Malaria!,
Nas,
Arab on Radar,
Qualms,
Procol Harum,
The Real Kids,
Icehouse,
Audionom,
The Doors,
The Barracudas,
A Certain Ratio,
Franke,
The Alarm Clocks,
The Jesus and Mary Chain,
Deepchord,
Gil Scott-Heron & Brian Jackson,
The Gories,
The Evens,
Masters at Work,
John Holt,
The Men They Couldn't Hang,
Jerry's Kids,
cv313,
The Sonics,
Alton Ellis,
Be Bop Deluxe,
Henry Cow,
The Selecter,
Black Flag,
The Vogues,
Kool Moe Dee,
Kango’s Stein Massive,
Vaughan Mason & Crew,
Peter & Gordon,
Yaz,
Harry Pussy,
Joe Finger,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.