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 Bahamas and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school Madrid 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 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 The Fugs to the electroclash 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 Mark Hollis. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Babytalk,
Kango’s Stein Massive,
Marcia Griffiths,
Yellowson,
The Selecter,
Scott Walker + Sunn O))),
Kool Moe Dee,
Wings,
Danielle Patucci,
Maleditus Sound,
Liaisons Dangereuses,
Minnie Riperton,
Brick,
Jacob Miller,
Radiopuhelimet,
Bootsy Collins,
Rekid,
Al Stewart,
Be Bop Deluxe,
Schoolly D,
Art Ensemble Of Chicago,
Echo & the Bunnymen,
The Grass Roots,
Mission of Burma,
Mo-Dettes,
The Black Dice,
The Techniques,
Fela Kuti,
James Chance & The Contortions,
The Sound,
The Misunderstood,
Byron Stingily,
Marvin Gaye,
Blake Baxter,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kevin Saunderson,
Whodini,
Aaron Thompson,
This Heat,
Gil Scott-Heron & Brian Jackson,
The Alarm Clocks,
Anthony Braxton,
New Order,
Gong,
Lakeside,
Ronan,
Kool G Rap & DJ Polo,
Underground Resistance,
Black Moon,
Technova,
Ajijia Myrayebe,
The Sisters of Mercy,
The Mighty Diamonds,
Intrusion,
Gregory Isaacs,
James White and The Blacks,
The Doors,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.