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 Kyrgyzstan and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Manchester and Bologna.
I'm losing my edge to the art-school Houston 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 chamberlin 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 The Stooges to the punk kids.
I played it at Cafe Wha.
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 Reuben Wilson. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every EPMD 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Maurizio,
Hardrive,
Little Man,
The Techniques,
Eric Copeland,
Frankie Knuckles,
Ultra Naté,
OOIOO,
Young Marble Giants,
R.M.O.,
The West Coast Pop Art Experimental Band,
Dark Day,
PIL,
Ohio Players,
Public Image Ltd.,
Faraquet,
Bang On A Can,
Masters at Work,
Chris & Cosey,
The Zeros,
Tom Boy,
It's A Beautiful Day,
The Evens,
Peter & Gordon,
Albert Ayler,
The Move,
Accadde A,
Kauko Röyhkä ja Narttu,
Tomorrow,
Howard Jones,
Fugazi,
Amon Düül II,
Lalann,
Aswad,
Zapp,
Crispian St. Peters,
Todd Rundgren,
Soulsonic Force,
Kevin Saunderson,
Terry Callier,
The Five Americans,
The Barracudas,
Röyhkä ja Rättö ja Lehtisalo,
Moby Grape,
Khruangbin,
The Blackbyrds,
The Mighty Diamonds,
Don Cherry,
New Order,
Smog,
Gregory Isaacs,
Tres Demented,
Trumans Water,
The Happenings,
Zero Boys,
X-Ray Spex,
The American Breed,
Joyce Sims,
Gian Franco Pienzio,
Deadbeat,
Franke,
Slick Rick,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.