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 Madagascar and from Edmonton.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Severed Heads to the grunge 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 Heaven 17. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Alice Coltrane,
Matthew Halsall,
Nick Fraelich,
Ultravox,
T. Rex,
Soul II Soul,
Kas Product,
cv313,
Steve Hackett,
Erykah Badu,
Robert Hood,
Circle Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Althea and Donna,
Ultimate Spinach,
Nirvana,
Los Fastidios,
Nick Cave & The Bad Seeds,
The Walker Brothers,
Traffic Nightmare,
Blake Baxter,
Oppenheimer Analysis,
Kool Moe Dee,
Sällskapet,
Art Ensemble Of Chicago,
The Last Poets,
Electric Light Orchestra,
Marcia Griffiths,
Bronski Beat,
Livin' Joy,
Joe Finger,
Sunsets and Hearts,
The Toasters,
Metal Thangz,
New Age Steppers,
Procol Harum,
Ronan,
Peter Gordon & Love of Life Orchestra,
Robert Wyatt,
Scott Walker,
Lalo Schifrin,
Bob Dylan,
Eddi Front,
Altered Images,
The Litter,
Mr. Review,
the Fania All-Stars,
The J.B.'s,
Black Bananas,
Hoover,
Infiniti,
DeepChord presents Echospace,
Slave,
Pere Ubu,
Derrick Morgan,
Alison Limerick,
The Cramps, The Cramps, The Cramps, The Cramps.
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.