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 Algeria and from Stockholm.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Richard Hell and the Voidoids to the jazz 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 Marc Romboy vs. Booka Shade. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Buzzcocks 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Janne Schatter,
Harry Pussy,
Barbara Tucker,
The Fuzztones,
Roxy Music,
Fela Kuti,
Ultravox,
Terrestrial Tones,
Kerrie Biddell,
Eric Copeland,
Main Source,
The Residents,
the Normal,
Scan 7,
Chrome,
The Gories,
Robert Görl,
Pantaleimon,
Outsiders,
Sandy B,
Shuggie Otis,
Siglo XX,
The Pop Group,
Youth Brigade,
John Coltrane,
Oblivians,
Jimmy McGriff,
Sparks,
David Axelrod,
Chris Corsano,
The Raincoats,
The Seeds,
Rod Modell,
Harpers Bizarre,
The Five Americans,
Sun City Girls,
Funkadelic,
MDC,
Niagra,
The Sound,
Fifty Foot Hose,
Idris Muhammad,
Barrington Levy,
Soft Cell,
Gastr Del Sol,
Supertramp,
Ornette Coleman,
Tubeway Army,
Cecil Taylor,
L. Decosne,
The Durutti Column,
Shoche,
Notorious BIG live in Amsterdam,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Public Image Ltd.,
London Community Gospel Choir,
the Germs,
Fluxion,
Rotary Connection,
Hoover,
Anthony Braxton,
Excepter,
The Happenings,
the Swans, the Swans, the Swans, the Swans.
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.