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 Kyrgyzstan and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
I'm losing my edge to the art-school Taipei 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Bootsy Collins to the jazz kids.
I played it at the 40 Watt.
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 Andrew Hill. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. 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?
Lee Hazlewood,
Lou Reed & John Cale,
Loose Ends,
Louis and Bebe Barron,
Spoonie Gee,
Angry Samoans,
Nirvana,
Ludus,
The Human League,
Eli Mardock,
June Days,
Ash Ra Tempel,
Scratch Acid,
Nick Cave & The Bad Seeds,
The Sisters of Mercy,
Marine Girls,
T. Rex,
Absolute Body Control,
David Axelrod,
Whodini,
Ronan,
Brick,
Gang Gang Dance,
Erykah Badu,
Eric Copeland,
The J.B.'s,
The Stooges,
Peter & Gordon,
Brass Construction,
Faust,
Boredoms,
John Foxx,
Strawberry Alarm Clock,
Wasted Youth,
Lungfish,
Babytalk,
The Fire Engines,
Scientists,
Grey Daturas,
B.T. Express,
Rapeman,
Sly & The Family Stone,
DJ Sneak,
Marvin Gaye,
The Seeds,
Rhythm & Sound,
Barrington Levy,
DJ Style,
Television Personalities,
Teenage Jesus and the Jerks,
Bootsy's Rubber Band,
8 Eyed Spy,
Cheater Slicks,
Sugar Minott,
Crash Course in Science,
Harpers Bizarre,
Kayak,
Stereo Dub,
New Age Steppers,
Super Lover Cee & Casanova Rud,
EPMD,
Icehouse,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.