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 Micronesia 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 1968 to 1973.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Joyce Sims to the rap 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 Cecil Taylor. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
the Human League,
David McCallum,
Alton Ellis,
Infiniti,
Marvin Gaye,
Pulsallama,
Half Japanese,
Make Up,
LL Cool J,
Silicon Teens,
Marshall Jefferson,
The Residents,
Harmonia,
Bobby Hutcherson,
Massinfluence,
Junior Murvin,
Sight & Sound,
Peter Gordon & Love of Life Orchestra,
June of 44,
Eurythmics,
The Red Krayola,
Nico,
Parry Music,
Flamin' Groovies,
Circle Jerks,
Rufus Thomas,
Clear Light,
Soft Machine,
Lou Reed & Metallica,
The Cramps,
Todd Rundgren,
Smog,
Dark Day,
Kings Of Tomorrow,
John Cale,
Basic Channel,
Pantaleimon,
the Bar-Kays,
Lou Christie,
Hardrive,
Black Sheep,
Justin Hinds & The Dominoes,
Judy Mowatt,
Thompson Twins,
Max Romeo,
Index,
Howard Jones,
Flash Fearless,
Bad Manners,
Buzzcocks,
The Monochrome Set,
Notorious BIG live in Amsterdam,
Electric Prunes,
The Selecter,
Adolescents,
Ultimate Spinach,
Maurizio,
Grandmaster Flash and the Furious Five,
Skriet,
DNA,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.