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 Guinea and from Milan.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Philadelphia 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Khruangbin to the electroclash 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 Soft Cell. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Black Pus,
Animal Collective,
Bronski Beat,
Stiv Bators,
Mr. Review,
The Toasters,
Fifty Foot Hose,
Barbara Tucker,
The Misunderstood,
E-Dancer,
Peter and Kerry,
Godley & Creme,
Interpol,
Dawn Penn,
The West Coast Pop Art Experimental Band,
Pharoah Sanders,
Mark Hollis,
Jawbox,
Terry Callier,
Monolake,
Black Moon,
Judy Mowatt,
Dorothy Ashby,
Depeche Mode,
Accadde A,
Cheater Slicks,
Soul II Soul,
Moby Grape,
Monks,
K-Klass,
Drive Like Jehu,
Excepter,
Flash Fearless,
Royal Trux,
Richard Hell and the Voidoids,
The Wake,
Adolescents,
DeepChord presents Echospace,
Marvin Gaye,
John Lydon,
Swell Maps,
Urselle,
Deadbeat,
Pussy Galore,
Colin Newman,
Grandmaster Flash,
Todd Terry,
Technova,
Hot Snakes,
Lakeside,
The Men They Couldn't Hang,
The Busters,
The Velvet Underground,
Tears for Fears,
The Buckinghams,
The Real Kids,
Simply Red,
Letta Mbulu,
Amazonics,
Sister Nancy,
Deutsch Amerikanische Freundschaft,
John Holt, John Holt, John Holt, John Holt.
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.