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 Zimbabwe and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Half Japanese to the electroclash kids.
I played it at the Troubador.
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 John Lydon. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Roger Hodgson,
China Crisis,
Sonny Sharrock,
Ten City,
Michelle Simonal,
K-Klass,
Sällskapet,
T. Rex,
Curtis Mayfield,
Soft Machine,
Jandek,
Gabor Szabo,
Deakin,
Skaos,
Cheater Slicks,
Ken Boothe,
The Last Poets,
CMW,
Donny Hathaway,
Maleditus Sound,
Kurtis Blow,
U.S. Maple,
Sound Behaviour,
Justin Hinds & The Dominoes,
Heavy D & The Boyz,
Blossom Toes,
Faraquet,
The Alarm Clocks,
Oneida,
Mandrill,
Skriet,
The Velvet Underground,
Buzzcocks,
Judy Mowatt,
Schoolly D,
Frankie Knuckles,
Rhythm & Sound,
Newcleus,
Silicon Teens,
Sandy B,
Sugar Minott,
Nirvana,
The Selecter,
Harry Pussy,
the Slits,
Nas,
Kango’s Stein Massive,
Gang Green,
Nick Cave & The Bad Seeds,
Avey Tare & Kría Brekkan,
Adolescents,
Grandmaster Flash,
Pharoah Sanders,
Yazoo,
Fort Wilson Riot,
Lebanon Hanover,
Ossler,
Lungfish,
Gil Scott-Heron & Brian Jackson,
The New Christs,
Ash Ra Tempel,
Absolute Body Control,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.