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 Angola and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Bang On A Can to the disco kids.
I played it at Trash.
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 Khruangbin. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Radio Birdman,
Unwound,
Buzzcocks,
Patti Smith,
The Cowsills,
Dennis Brown,
Royal Trux,
Magazine,
Cheater Slicks,
Jimmy McGriff,
Ronnie Foster,
Matthew Halsall,
Bob Dylan,
Teenage Jesus and the Jerks,
Boredoms,
Bang on a Can All-Stars,
Groovy Waters,
Au Pairs,
Piero Umiliani,
The Men They Couldn't Hang,
The Dead C,
Carl Craig,
The Neon Judgement,
LL Cool J,
Faust,
Bang On A Can,
Sound Behaviour,
Rufus Thomas,
Jerry Gold Smith,
Black Bananas,
Depeche Mode,
Sugar Minott,
Throbbing Gristle,
Dawn Penn,
U.S. Maple,
Liliput,
The Vogues,
Flipper,
F. McDonald,
The Skatalites,
the Human League,
Joe Finger,
The Young Rascals,
Little Man,
Isaac Hayes,
The Fugs,
Japan,
Josef K,
Cal Tjader,
Terrestrial Tones,
Thee Headcoats,
Kauko Röyhkä ja Narttu,
Lower 48,
Godley & Creme,
The Selecter,
Lyres,
Peter Gordon & Love of Life Orchestra,
Amazonics,
Sun Ra Arkestra,
The Durutti Column,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.