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 Ivory Coast and from Shanghai.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Columbus and London.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Davy DMX to the jazz kids.
I played it at the Crocodile.
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 Janne Schatter. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Skriet 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 '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Heavy D & The Boyz,
Maurizio,
Crash Course in Science,
Warsaw,
Terry Callier,
The Durutti Column,
Yazoo,
EPMD,
OOIOO,
Lebanon Hanover,
Selector Dub Narcotic,
Electric Light Orchestra,
Anthony Braxton,
Siouxsie and the Banshees,
Fear,
The Remains,
Icehouse,
Camouflage,
The Slackers,
Moby Grape,
Porter Ricks,
Ice-T,
Nas,
Mo-Dettes,
Notorious Big And Bone Thugs,
Althea and Donna,
Japan,
Mad Mike,
Lalo Schifrin,
Dawn Penn,
Delta 5,
The Zeros,
Bauhaus,
The Monochrome Set,
Bang on a Can All-Stars,
Max Romeo,
Tim Buckley,
The Human League,
Minny Pops,
Bluetip,
Siglo XX,
Terrestrial Tones,
Bootsy's Rubber Band,
Neil Young,
The Music Machine,
Masters at Work,
Saccharine Trust,
Cal Tjader,
The Grass Roots,
Scott Walker + Sunn O))),
Thee Headcoats,
Aaron Thompson,
Section 25,
X-Ray Spex,
Rahsaan Roland Kirk,
Bill Wells,
Be Bop Deluxe,
Freddie Wadling,
Marc Almond,
Sparks,
Mars,
Urselle, Urselle, Urselle, Urselle.
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.