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 Ireland and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 The United States of America to the jazz 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 One Last Wish. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Magazine,
Terrestrial Tones,
Jesper Dahlbäck,
T.S.O.L.,
Josef K,
Nirvana,
Sun City Girls,
Kayak,
Boredoms,
Ajijia Myrayebe,
Outsiders,
Eddi Front,
Scion,
Y Pants,
Duran Duran,
Ludus,
Porter Ricks,
Barry Ungar,
X-101,
Bootsy Collins,
The Shadows of Knight,
Cluster,
The Cramps,
Patti Smith,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brass Construction,
Infiniti,
Gastr Del Sol,
Malaria!,
The Techniques,
Thompson Twins,
Gregory Isaacs,
Ossler,
F. McDonald,
Ralphi Rosario,
Freddie Wadling,
The Slackers,
D'Angelo,
Tim Buckley,
Justin Hinds & The Dominoes,
LL Cool J,
Althea and Donna,
Gil Scott-Heron & Brian Jackson,
The Beau Brummels,
Soulsonic Force,
Stockholm Monsters,
Skaos,
Eric B and Rakim,
Derrick Morgan,
Underground Resistance,
Blossom Toes,
Arthur Verocai,
Prince Buster,
The Monks,
Chris & Cosey,
Maurizio,
Masters at Work,
Tears for Fears,
Joe Smooth,
Agent Orange,
Be Bop Deluxe,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.