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 Nauru and from Stockholm.
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 1963 to 1973.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Popol Vuh to the grime kids.
I played it at the Hacienda.
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 Johnny Osbourne. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
The Vogues,
B.T. Express,
The Dirtbombs,
Spoonie Gee,
Marc Romboy vs. Booka Shade,
Jesper Dahlbäck,
Skarface,
Cabaret Voltaire,
Public Image Ltd.,
Major Organ And The Adding Machine,
Oppenheimer Analysis,
Graham Central Station,
Jacob Miller,
Bootsy's Rubber Band,
The Shadows of Knight,
Minny Pops,
Camron Feat. Memphis Bleek And Beenie Seigel,
Inner City,
Brick,
Brass Construction,
Zero Boys,
8 Eyed Spy,
Andrew Ashong & Theo Parrish,
Derrick May,
Quando Quango,
Crime,
The Divine Comedy,
John Coltrane,
Byron Stingily,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Thee Headcoats,
Todd Terry,
Mark Hollis,
Model 500,
Jimmy McGriff,
Joensuu 1685,
the Fania All-Stars,
Franke,
MC5,
Colin Newman,
Vladislav Delay,
The Stooges,
The Human League,
ABC,
Camberwell Now,
The Sound,
Dorothy Ashby,
Rhythim Is Rhythim,
The Alarm Clocks,
Ludus,
Sonny Sharrock,
Pet Shop Boys,
Rahsaan Roland Kirk,
Tomorrow,
Theoretical Girls,
The Red Krayola,
Deadbeat,
Johnny Osbourne,
John Holt,
the Sonics,
The Sonics, The Sonics, The Sonics, The Sonics.
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.