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 Angola and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Milan.
I'm losing my edge to the art-school Sao Paulo 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 organ sounds with much patience.
I was there when Michael McDonald 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 Johnny Osbourne to the rap kids.
I played it at the Astoria.
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 Ken Boothe tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Mandrill,
Rahsaan Roland Kirk,
Bush Tetras,
Godley & Creme,
Stetsasonic,
X-102,
Sun Ra,
John Coltrane,
Swans,
H. Thieme,
Black Pus,
Cybotron,
Model 500,
Khruangbin,
Minor Threat,
Grey Daturas,
Sound Behaviour,
Supertramp,
Mission of Burma,
The Black Dice,
Pierre Henry,
Eric Copeland,
Lafayette Afro Rock Band,
Deepchord,
The Red Krayola,
Andrew Hill,
Bizarre Inc.,
Sister Nancy,
Peter Gordon & Love of Life Orchestra,
Shuggie Otis,
Bobby Womack,
Liaisons Dangereuses,
Lebanon Hanover,
Metal Thangz,
The Gladiators,
kango's stein massive,
Black Flag,
Joey Negro,
Dark Day,
Lungfish,
Yellowson,
R.M.O.,
New Age Steppers,
Yusef Lateef,
Bootsy Collins,
Jerry's Kids,
The Misunderstood,
Terrestrial Tones,
Teenage Jesus and the Jerks,
Lou Christie,
Bang on a Can All-Stars,
Magazine,
The Pop Group,
Oblivians,
Soft Machine,
Second Layer,
Accadde A,
Piero Umiliani,
Arcadia,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.