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 Nepal and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Seoul 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 Robert Palmer 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 Intrusion to the jazz kids.
I played it at the 40 Watt.
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 Fort Wilson Riot. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Clear Light,
Don Cherry,
Jeff Mills,
Stetsasonic,
Avey Tare,
Graham Central Station,
Marc Romboy vs. Booka Shade,
Ituana,
Nik Kershaw,
Peter & Gordon,
Avey Tare & Kría Brekkan,
Pole,
Pierre Henry,
Mantronix,
Soul Sonic Force,
Bobby Womack,
Bobby Byrd,
Mary Jane Girls,
Scion,
Crispian St. Peters,
Mandrill,
Gil Scott-Heron & Brian Jackson,
X-Ray Spex,
The Slackers,
Pussy Galore,
Sun Ra Arkestra,
Sticky Fingaz feat. Raekwon,
Todd Rundgren,
Lee Hazlewood,
Sam Rivers,
Rahsaan Roland Kirk,
Todd Terry,
Sixth Finger,
Wings,
cv313,
Rowland S Howard / Lydia Lunch,
Roxy Music,
Quantec,
Simply Red,
Skriet,
Q65,
Cybotron,
Peter and Kerry,
Neu!,
Negative Approach,
Symarip,
Quadrant,
Robert Görl,
AZ,
The West Coast Pop Art Experimental Band,
Main Source,
Laurel Aitken,
Sly & The Family Stone,
Lower 48,
Organ,
Red Lorry Yellow Lorry,
Ornette Coleman,
Freddie Wadling,
The Sonics,
Wasted Youth,
Reuben Wilson,
Sunsets and Hearts,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.