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 Spain and from Salvador.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Sarah Menescal to the techno 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 Goldenarms. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Golliwogs 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Skriet,
Country Joe & The Fish,
DJ Style,
Crispy Ambulance,
The J.B.'s,
Bill Near,
The Count Five,
Cybotron,
Eyeless In Gaza,
Intrusion,
Fatback Band,
Avey Tare's Slasher Flicks,
Visionaries,LMNO, T- Love & Iriscience,
The Tremeloes,
Outsiders,
The West Coast Pop Art Experimental Band,
Anthony Braxton,
The Mummies,
Accadde A,
Captain Beefheart & His Magic Band,
John Cale,
The New Christs,
Pole,
Peter & Gordon,
Brick,
Young Marble Giants,
Pete Rock & C.L. Smooth,
Inner City,
Strawberry Alarm Clock,
Anakelly,
Junior Murvin,
Average White Band,
Grauzone,
Glambeats Corp.,
Albert Ayler,
Dual Sessions,
Fat Boys,
Jacob Miller,
Lizzy Mercier Descloux,
Sister Nancy,
The Neon Judgement,
Make Up,
These Immortal Souls,
Alphaville,
Marshall Jefferson,
Oneida,
The Electric Prunes,
Joe Smooth,
John Holt,
Electric Prunes,
Camouflage,
The Smoke,
Essential Logic,
Carl Craig,
Kerri Chandler,
Pharaoh Sanders and the Fire Engines,
The Fugs,
Shoche,
Robert Wyatt,
Lebanon Hanover,
David Axelrod,
E-Dancer,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.