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 El Salvador and from Sao Paulo.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Beijing and London.
I'm losing my edge to the art-school Paris 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Techniques to the grunge 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 Davy DMX. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Drive Like Jehu 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 '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Marmalade,
Outsiders,
Laurel Aitken,
Mark Hollis,
Jeru the Damaja,
Young Marble Giants,
Half Japanese,
OOIOO,
The Searchers,
Shoche,
Kerri Chandler,
The West Coast Pop Art Experimental Band,
Eden Ahbez,
The Stooges,
Aloha Tigers,
The Grass Roots,
Gabor Szabo,
Howard Jones,
Roxette,
Hardrive,
Kaleidoscope,
Metal Thangz,
Q65,
The Saints,
Schoolly D,
Sunsets and Hearts,
Swell Maps,
Can,
Camron Feat. Jay Z And Juelz,
Chris & Cosey,
Soul Sonic Force,
Sparks,
Crooked Eye,
The Trojans,
Barclay James Harvest,
Cecil Taylor,
Oppenheimer Analysis,
Thompson Twins,
Make Up,
The Motions,
Ronnie Foster,
D'Angelo,
Dennis Brown,
Technova,
Country Teasers,
Pussy Galore,
Gang Gang Dance,
Fort Wilson Riot,
Scan 7,
Alphaville,
Amazonics,
Funky Four + One,
Brand Nubian,
Fugazi,
Surgeon,
Brick,
Angels of Light & Akron/Family,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Slits,
The Blues Magoos,
The Monks,
Marine Girls,
Strawberry Alarm Clock,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.