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 Trinidad & Tobago and from Lille.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 sitar sounds with much patience.
I was there when Donald Fagen 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 techno 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 the Bar-Kays. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Bang on a Can All-Stars,
Franke,
Eyeless In Gaza,
Sun Ra Arkestra,
Cluster,
The Standells,
Niagra,
Donny Hathaway,
Larry & the Blue Notes,
Major Organ And The Adding Machine,
Nik Kershaw,
Moss Icon,
Jimmy McGriff,
Liliput,
Swell Maps,
Sight & Sound,
Sunsets and Hearts,
Pete Rock & C.L. Smooth,
Little Man,
Colin Newman,
Big Daddy Kane,
Glenn Branca,
Jacob Miller,
Chris Corsano,
Traffic Nightmare,
This Heat,
Flipper,
Aswad,
Lucky Dragons,
Cabaret Voltaire,
Bluetip,
Soft Cell,
Toni Rubio,
Bang On A Can,
Eric B and Rakim,
Brick,
Iggy Pop,
Liaisons Dangereuses,
La Düsseldorf,
Tim Buckley,
Roxette,
T.S.O.L.,
Whodini,
Joe Smooth,
Circle Jerks,
Intrusion,
It's A Beautiful Day,
The Associates,
Absolute Body Control,
Vainqueur,
Simply Red,
The Busters,
Peter & Gordon,
Oneida,
Fat Boys,
The Dirtbombs,
Gregory Isaacs,
Art Ensemble Of Chicago,
the Association,
Essential Logic,
Clear Light,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.