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 Tuvalu and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 funk 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 China Crisis. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Fad Gadget 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 '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
the Normal,
Kurtis Blow,
Outsiders,
Gong,
Oblivians,
The Offenders,
The Pop Group,
Masters at Work,
Tomorrow,
Electric Light Orchestra,
Kauko Röyhkä ja Narttu,
The Zeros,
Bronski Beat,
The Slackers,
Roy Ayers,
The Flesh Eaters,
LL Cool J,
The Black Dice,
Zero Boys,
Alison Limerick,
Cecil Taylor,
Peter Gordon & Love of Life Orchestra,
Terrestrial Tones,
Althea and Donna,
Rosa Yemen,
Stiv Bators,
Anthony Braxton,
Ultimate Spinach,
Boogie Down Productions,
John Coltrane,
The Mojo Men,
Boredoms,
The Kinks,
The Litter,
Byron Stingily,
Josef K,
L. Decosne,
Siglo XX,
the Soft Cell,
Man Parrish,
The Cramps,
David McCallum,
The Fall,
Lou Christie,
Kenny Larkin,
Agent Orange,
Aloha Tigers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
Hashim,
Bobby Womack,
Idris Muhammad,
D'Angelo,
Ponytail,
Todd Terry,
Sun Ra Arkestra,
Pharoah Sanders,
Avey Tare & Kría Brekkan,
Monks,
Cabaret Voltaire,
Mandrill,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.