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 Italy and from Toronto.
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 1977.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Winnipeg 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 organ sounds with much patience.
I was there when Lou Reed 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 Von Mondo to the punk kids.
I played it at the Astoria.
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 Swell Maps. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Barry Ungar,
Neil Young & Crazy Horse,
Dark Day,
Jeff Mills,
Jimmy McGriff,
A Flock of Seagulls,
Delon & Dalcan,
Arcadia,
Desert Stars,
Panda Bear,
Dennis Brown,
Echo & the Bunnymen,
The Fugs,
Ken Boothe,
Bobby Hutcherson,
Mad Mike,
Ponytail,
Crispian St. Peters,
Janne Schatter,
Peter & Gordon,
Pere Ubu,
The Men They Couldn't Hang,
Index,
Country Joe & The Fish,
Fat Boys,
Kool G Rap & DJ Polo,
Heaven 17,
Technova,
The Saints,
Oneida,
David Axelrod,
Hasil Adkins,
Patti Smith,
Mission of Burma,
Groovy Waters,
Loose Ends,
Aural Exciters,
Marcia Griffiths,
Eddi Front,
Idris Muhammad,
June of 44,
The Electric Prunes,
Pagans,
The Move,
Joe Finger,
New Order,
Roxy Music,
The Vogues,
Sparks,
Art Ensemble Of Chicago,
Radiopuhelimet,
The Durutti Column,
The Knickerbockers,
Gil Scott Heron,
Porter Ricks,
Ornette Coleman,
Robert Hood,
The West Coast Pop Art Experimental Band,
Depeche Mode,
Johnny Clarke,
Black Pus,
Cal Tjader,
Pete Rock & C.L. Smooth,
The Remains, The Remains, The Remains, The Remains.
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.