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 Botswana 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 1968 to 1970.
I'm losing my edge.
To all the kids in Toronto and Tehran.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Chrome to the rap 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 Charles Mingus. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Parry Music,
Khruangbin,
A Certain Ratio,
Black Sheep,
Spandau Ballet,
Roy Ayers Ubiquity,
The American Breed,
The Chocolate Watch Band,
The Pop Group,
Ossler,
Prince Buster,
The Kinks,
Frankie Knuckles,
Zapp,
Art Ensemble Of Chicago,
Darondo,
The Associates,
Slave,
The Zeros,
Cameo,
James White and The Blacks,
Nation of Ulysses,
T. Rex,
Barrington Levy,
Inner City,
Sun Ra Arkestra,
Barclay James Harvest,
Public Enemy,
Archie Shepp,
Young Marble Giants,
Harmonia,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
Minnie Riperton,
Todd Rundgren,
The Slits,
Cluster,
Bobby Byrd,
Sly & The Family Stone,
Thinking Fellers Union Local 282,
Altered Images,
MC5,
Fat Boys,
N.O.R.E. Featuring Pharrell,
Cecil Taylor,
X-101,
Flipper,
Little Man,
Yellowson,
The Index,
Jacob Miller,
Lou Christie,
Susan Cadogan,
Q65,
Mary Jane Girls,
The Raincoats,
Niagra,
The Sisters of Mercy,
Alice Coltrane,
Dave Gahan,
Bobby Sherman,
Albert Ayler,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.