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 South Sudan and from Tokyo.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Tokyo 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 theremin 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 Ornette Coleman to the rap 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 Al Stewart. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Unrelated Segments,
Amon Düül II,
Grandmaster Flash,
Ice-T,
The Techniques,
Terror Squad Feat. Camron,
Mars,
Audionom,
Tim Buckley,
Pantytec,
K-Klass,
Harry Pussy,
Captain Beefheart & His Magic Band,
Bill Wells,
Traffic Nightmare,
Fad Gadget,
Magazine,
Joey Negro,
New Age Steppers,
U.S. Maple,
The American Breed,
Alice Coltrane,
The Gun Club,
The Mighty Diamonds,
Soft Machine,
Visionaries,LMNO, T- Love & Iriscience,
Pierre Henry,
The Doors,
Jimmy McGriff,
London Community Gospel Choir,
Althea and Donna,
James White and The Blacks,
The Move,
LL Cool J,
Kool Moe Dee,
Talk Talk,
John Coltrane,
Connie Case,
Pussy Galore,
Simply Red,
Colin Newman,
Dawn Penn,
The Cosmic Jokers,
The J.B.'s,
Aswad,
Gang Green,
The Martian,
Suburban Knight,
Robert Görl,
The Moody Blues,
Echo & the Bunnymen,
Al Stewart,
cv313,
Rhythm & Sound,
Adolescents,
Ash Ra Tempel,
The Peanut Butter Conspiracy,
Lightning Bolt,
Soft Cell,
Be Bop Deluxe,
The Invisible,
Supertramp, Supertramp, Supertramp, Supertramp.
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.