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 Kiribati and from Woodstock.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
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 marimba 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 Slits to the grime kids.
I played it at the Roxy.
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 Man Eating Sloth. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Chris & Cosey 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
B.T. Express,
Heaven 17,
Sight & Sound,
Dennis Brown,
Maurizio,
Al Stewart,
Sonic Youth,
The Kinks,
Fugazi,
Rites of Spring,
Jawbox,
The Victims,
Eric Copeland,
Pantaleimon,
Cabaret Voltaire,
Oneida,
CMW,
The Techniques,
Archie Shepp,
Marvin Gaye,
Lyres,
LL Cool J,
Public Enemy,
Oppenheimer Analysis,
The Buckinghams,
Curtis Mayfield,
Ultimate Spinach,
Interpol,
Alison Limerick,
Eddi Front,
The Divine Comedy,
Patti Smith,
Anakelly,
A Flock of Seagulls,
Yusef Lateef,
The Electric Prunes,
Warsaw,
Robert Wyatt,
Gerry Rafferty,
Sticky Fingaz feat. Raekwon,
David Axelrod,
Minor Threat,
Morten Harket,
The Fall,
EPMD,
Q65,
Agitation Free,
The Sonics,
Johnny Clarke,
Yellowson,
Bill Near,
Idris Muhammad,
Joe Finger,
Frankie Knuckles,
The Birthday Party,
Hasil Adkins,
Scrapy,
The Raincoats,
the Human League,
Letta Mbulu,
The Litter, The Litter, The Litter, The Litter.
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.