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 Israel and from Sao Paulo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Babytalk to the jazz 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 Jeru the Damaja. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Grandmaster Flash,
Roy Ayers,
KRS-One,
The Pretty Things,
Yusef Lateef,
Chris & Cosey,
The J.B.'s,
Stereo Dub,
The Toasters,
Au Pairs,
The Gap Band,
Guru Guru,
Panda Bear,
Electric Light Orchestra,
The Blackbyrds,
Sun Ra Arkestra,
Warsaw,
Popol Vuh,
Swell Maps,
Lonnie Liston Smith,
EPMD,
Jawbox,
The Cramps,
Kool G Rap & DJ Polo,
Loose Ends,
The Beau Brummels,
Black Sheep,
Steve Hackett,
Dorothy Ashby,
Bootsy's Rubber Band,
Spandau Ballet,
Theoretical Girls,
Judy Mowatt,
The Selecter,
Arthur Verocai,
The Alarm Clocks,
Heavy D & The Boyz,
DNA,
A Flock of Seagulls,
Robert Wyatt,
Ultimate Spinach,
Terry Callier,
Organ,
Ultramagnetic MC's,
Royal Trux,
Skaos,
Niagra,
Agitation Free,
Marine Girls,
Gong,
Kayak,
Lee Hazlewood,
CMW,
The Chocolate Watch Band,
Khruangbin,
The Detroit Cobras,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
Camberwell Now,
Manfred Mann's Earth Band,
Kurtis Blow,
Marmalade,
Intrusion, Intrusion, Intrusion, Intrusion.
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.