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 Poland and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Seoul and Mexico City.
I'm losing my edge to the art-school Mexico City 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 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 Matthew Bourne to the rap kids.
I played it at the Crocodile.
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 Sonic Youth. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Todd Terry 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Bootsy's Rubber Band,
K-Klass,
The Wake,
The Young Rascals,
Dennis Brown,
Gil Scott-Heron & Brian Jackson,
Pylon,
Eyeless In Gaza,
Gian Franco Pienzio,
Art Ensemble Of Chicago,
Marc Romboy vs. Booka Shade,
Sun Ra Arkestra,
Marmalade,
Blake Baxter,
Janne Schatter,
New Age Steppers,
Roy Ayers Ubiquity,
Brothers Johnson,
Fear,
Delta 5,
Sam Rivers,
Gary Puckett & The Union Gap,
Guru Guru,
Porter Ricks,
Pulsallama,
Eric B and Rakim,
Fatback Band,
Black Bananas,
Lalann,
The Star Department,
The Toasters,
Loose Ends,
Kaleidoscope,
Goldenarms,
Slick Rick,
Lightning Bolt,
Warsaw,
Rowland S Howard / Lydia Lunch,
Brick,
Khruangbin,
Public Enemy,
Jawbox,
Skriet,
Intrusion,
a-ha,
Freddie Wadling,
Kerri Chandler,
Joe Smooth,
Liliput,
The Names,
Robert Wyatt,
F. McDonald,
Gang Gang Dance,
Pharaoh Sanders and the Fire Engines,
The Grass Roots,
X-101,
Susan Cadogan,
Los Fastidios,
Tim Buckley,
Scientists,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.