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 Zimbabwe and from Hong Kong.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Delhi.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 The Cowsills to the crunk 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 Black Flag. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Erasure,
The Smiths,
Public Image Ltd.,
Skarface,
Gil Scott-Heron & Brian Jackson,
Malaria!,
Lee Hazlewood,
Jandek,
The Saints,
Matthew Halsall,
Shoche,
UT,
Sarah Menescal,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Lou Christie,
Ronnie Foster,
Von Mondo,
Ralphi Rosario,
cv313,
Aural Exciters,
Gang Gang Dance,
Gerry Rafferty,
Grandmaster Flash,
Ornette Coleman,
Avey Tare,
Scrapy,
Kurtis Blow,
Sticky Fingaz feat. Raekwon,
Youth Brigade,
The Modern Lovers,
Yusef Lateef,
Popol Vuh,
Sonic Youth,
Siglo XX,
Rahsaan Roland Kirk,
Liaisons Dangereuses,
Steve Hackett,
Slave,
Sister Nancy,
Thompson Twins,
Lakeside,
Gil Scott-Heron and Jamie xx,
Metal Thangz,
EPMD,
Max Romeo,
John Coltrane,
Alison Limerick,
Bootsy Collins,
Arthur Verocai,
The Kinks,
James Chance & The Contortions,
Section 25,
Country Teasers,
Jacques Brel,
The Detroit Cobras,
The Fall,
Roxette,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.