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 Dominica and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Mumbai.
I'm losing my edge to the art-school Salvador 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 clarinet 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 Joe Finger to the punk kids.
I played it at the Crocodile.
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 Roxy Music. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Prince Buster 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Nas,
It's A Beautiful Day,
The Gun Club,
The Young Rascals,
The Dirtbombs,
Cheater Slicks,
Gil Scott Heron,
Barbara Tucker,
Au Pairs,
JFA,
Theoretical Girls,
Negative Approach,
Bootsy Collins,
Notorious Big And Bone Thugs,
The American Breed,
The Gladiators,
Max Romeo,
Lakeside,
Thinking Fellers Union Local 282,
Unwound,
Vainqueur,
Vladislav Delay,
K-Klass,
Agitation Free,
Piero Umiliani,
The United States of America,
Essential Logic,
Harry Pussy,
Icehouse,
The Smoke,
Scan 7,
L. Decosne,
Sparks,
Andrew Ashong & Theo Parrish,
The Smiths,
The Pretty Things,
Spandau Ballet,
Arthur Verocai,
Lou Reed & John Cale,
Kaleidoscope,
Eden Ahbez,
The Seeds,
Vaughan Mason & Crew,
Roy Ayers Ubiquity,
Accadde A,
The Beau Brummels,
Tres Demented,
Quando Quango,
Section 25,
kango's stein massive,
DeepChord presents Echospace,
Nick Cave & The Bad Seeds,
Mars,
Depeche Mode,
Amazonics,
Popol Vuh,
The Techniques,
Rowland S Howard / Lydia Lunch,
Lower 48,
The Fire Engines,
John Cale, John Cale, John Cale, John Cale.
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.