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 Mali and from London.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Beijing 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Main Source to the funk 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 Inner City. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Heaven 17 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Intrusion,
Nirvana,
Index,
The Electric Prunes,
Buzzcocks,
Donny Hathaway,
K-Klass,
Juan Atkins,
Q and Not U,
Shuggie Otis,
Make Up,
The Kinks,
Bootsy's Rubber Band,
Kango’s Stein Massive,
Ash Ra Tempel,
Arab on Radar,
Peter Gordon & Love of Life Orchestra,
Cal Tjader,
The American Breed,
Kings Of Tomorrow,
The Human League,
Aloha Tigers,
The Fall,
The Slits,
Pulsallama,
Ultravox,
Fifty Foot Hose,
Peter & Gordon,
This Heat,
Skaos,
Alton Ellis,
the Normal,
Siglo XX,
The Evens,
Jeru the Damaja,
Brothers Johnson,
Notorious BIG live in Amsterdam,
Don Cherry,
Desert Stars,
The Standells,
Teenage Jesus and the Jerks,
Man Eating Sloth,
Steve Hackett,
Ronan,
The Walker Brothers,
Fad Gadget,
Todd Rundgren,
Kool Moe Dee,
Louis and Bebe Barron,
Icehouse,
Jeff Mills,
The Cure,
Fatback Band,
Soft Machine,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
It's A Beautiful Day,
John Holt,
The Modern Lovers,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.