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 Grenada and from Seoul.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 Nile Rodgers 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 Misunderstood to the rap 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every One Last Wish 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
the Germs,
The Invisible,
Shuggie Otis,
Negative Approach,
Angels of Light & Akron/Family,
48th St. Collective,
Can,
Brick,
Masters at Work,
Visionaries,LMNO, T- Love & Iriscience,
U.S. Maple,
The Count Five,
Fort Wilson Riot,
Jacob Miller,
Boz Scaggs,
Q65,
Bootsy Collins,
The Cosmic Jokers,
The Doobie Brothers,
Sandy B,
Davy DMX,
Bobby Hutcherson,
Gang Gang Dance,
The Kinks,
Grandmaster Flash,
Nation of Ulysses,
Joyce Sims,
Pussy Galore,
Groovy Waters,
Lalann,
Essential Logic,
Fela Kuti,
Depeche Mode,
Theoretical Girls,
The Velvet Underground,
Glambeats Corp.,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott Heron,
Gregory Isaacs,
Morten Harket,
Dorothy Ashby,
JFA,
Aloha Tigers,
Soul II Soul,
Youth Brigade,
Crime,
The New Christs,
Curtis Mayfield,
Lakeside,
Amazonics,
the Human League,
The Techniques,
Public Image Ltd.,
Animal Collective,
Eddi Front,
The Associates, The Associates, The Associates, The Associates.
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.