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 South Sudan and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Calgary 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 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 Skriet to the disco kids.
I played it at the Hacienda.
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 Japan. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every the Bar-Kays 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 '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
The Gladiators,
Derrick Morgan,
T.S.O.L.,
Nik Kershaw,
The J.B.'s,
Liaisons Dangereuses,
Parry Music,
Ken Boothe,
Delon & Dalcan,
Matthew Halsall,
Brick,
Stiv Bators,
June of 44,
Lafayette Afro Rock Band,
The Velvet Underground,
Quantec,
Gian Franco Pienzio,
Pete Rock & C.L. Smooth,
David McCallum,
the Normal,
Eric B and Rakim,
Marcia Griffiths,
EPMD,
Gil Scott Heron,
Jesper Dahlbäck,
Y Pants,
Essential Logic,
Symarip,
Barry Ungar,
John Lydon,
The Last Poets,
John Foxx,
Black Moon,
Index,
OOIOO,
Cameo,
Panda Bear,
The Chocolate Watch Band,
Ronan,
Kool Moe Dee,
Harry Pussy,
Can,
The Slackers,
Joey Negro,
Carl Craig,
Urselle,
Harpers Bizarre,
Motorama,
Audionom,
B.T. Express,
Juan Atkins,
Hasil Adkins,
Shoche,
Dorothy Ashby,
Gang of Four,
Eden Ahbez,
Lonnie Liston Smith,
The Sonics,
Gary Puckett & The Union Gap,
ABC,
The Techniques, The Techniques, The Techniques, The Techniques.
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.