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 Thailand and from Johannesburg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Manila and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Minor Threat to the rap kids.
I played it at the Spitz.
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 Isaac Hayes. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every La Düsseldorf 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 mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
The Neon Judgement,
Parry Music,
Michelle Simonal,
Hashim,
Monolake,
The Black Dice,
The Chocolate Watch Band,
Interpol,
The Fortunes,
Vainqueur,
Fat Boys,
Gary Puckett & The Union Gap,
Teenage Jesus and the Jerks,
Kerrie Biddell,
The Fugs,
The Busters,
Siglo XX,
Lucky Dragons,
Suicide,
Marc Romboy vs. Booka Shade,
Todd Terry,
Jeru the Damaja,
James Chance & The Contortions,
John Cale,
The Sound,
Von Mondo,
The New Christs,
Captain Beefheart & His Magic Band,
Nick Cave & The Bad Seeds,
Iggy Pop,
Crash Course in Science,
Harry Pussy,
Talk Talk,
John Holt,
Sly & The Family Stone,
David McCallum,
Sam Rivers,
Malaria!,
Deadbeat,
Heaven 17,
James White and The Blacks,
Skaos,
Ituana,
Cymande,
Thee Headcoats,
Robert Wyatt,
Zapp,
Niagra,
Motorama,
Bob Dylan,
Letta Mbulu,
Moebius,
Strawberry Alarm Clock,
Bobby Hutcherson,
The Motions,
Amon Düül,
Essential Logic,
Radiohead,
Pussy Galore,
Con Funk Shun,
Bill Wells,
The Happenings, The Happenings, The Happenings, The Happenings.
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.