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 Korea South and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school Portland 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 synthesizer 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 Moby Grape to the rap kids.
I played it at the Spitz.
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 Albert Ayler. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Eric B and Rakim,
Henry Cow,
JFA,
David McCallum,
The Slits,
Harpers Bizarre,
Kool G Rap & DJ Polo,
Jerry Gold Smith,
Charles Mingus,
Quadrant,
The Pretty Things,
Laurel Aitken,
The Remains,
Pharoah Sanders,
Fear,
Neu!,
The Mummies,
A Certain Ratio,
The Fire Engines,
the Germs,
Von Mondo,
The Kinks,
Black Moon,
Blancmange,
Rhythm & Sound,
The Doobie Brothers,
Gerry Rafferty,
The Young Rascals,
Ultravox,
48th St. Collective,
Bush Tetras,
Sandy B,
T. Rex,
Sam Rivers,
Juan Atkins,
It's A Beautiful Day,
Surgeon,
Gian Franco Pienzio,
The Fuzztones,
Spoonie Gee,
Todd Terry,
Mr. Review,
Country Teasers,
Oppenheimer Analysis,
Porter Ricks,
Hardrive,
Con Funk Shun,
Louis and Bebe Barron,
Lou Reed & Metallica,
Ossler,
Derrick May,
Aswad,
Supertramp,
Bobby Sherman,
Roy Ayers,
Unwound,
The Durutti Column,
Moebius,
Ash Ra Tempel,
X-101,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.