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 Malawi and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro 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 Kerrie Biddell to the disco kids.
I played it at CBGB's.
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 Pole. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
The Monks,
The Sound,
Gerry Rafferty,
Liaisons Dangereuses,
Brass Construction,
Andrew Hill,
Bang On A Can,
Gabor Szabo,
Dawn Penn,
Minutemen,
Ultramagnetic MC's,
Sonny Sharrock,
Bronski Beat,
Neu!,
Shoche,
Buzzcocks,
Duran Duran,
Model 500,
The Skatalites,
Dead Boys,
U.S. Maple,
Marshall Jefferson,
Amazonics,
Soul Sonic Force,
Jeff Mills,
Rotary Connection,
Avey Tare & Kría Brekkan,
Neil Young,
Flipper,
the Bar-Kays,
Unrelated Segments,
Pantaleimon,
Sun Ra Arkestra,
Byron Stingily,
JFA,
Bootsy's Rubber Band,
Chris & Cosey,
Neil Young & Crazy Horse,
Notorious Big And Bone Thugs,
The Durutti Column,
Red Lorry Yellow Lorry,
Spoonie Gee,
T.S.O.L.,
Jacob Miller,
Gregory Isaacs,
Anakelly,
David Axelrod,
Mark Hollis,
Wire,
Don Cherry,
Khruangbin,
Mr. Review,
Gang Starr,
Rosa Yemen,
Todd Terry,
Radio Birdman,
Beasts of Bourbon,
Whodini,
EPMD, EPMD, EPMD, EPMD.
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.