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 Samoa and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Portland 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 linndrum 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 The Offenders to the dance kids.
I played it at the Hacienda.
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 Gil Scott Heron. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The Modern Lovers,
N.O.R.E. Featuring Pharrell,
The Martian,
Pharoah Sanders,
Sound Behaviour,
Index,
DNA,
Eden Ahbez,
Andrew Hill,
Pulsallama,
Sparks,
Joyce Sims,
The Fire Engines,
The Shadows of Knight,
Sällskapet,
Kerri Chandler,
MC5,
Arcadia,
Albert Ayler,
Gregory Isaacs,
Motorama,
Section 25,
Kenny Larkin,
Mr. Review,
Brothers Johnson,
The Neon Judgement,
Oppenheimer Analysis,
Marcia Griffiths,
Bootsy Collins,
Sex Pistols,
Black Flag,
Fear,
Flash Fearless,
Scratch Acid,
Laurel Aitken,
The Real Kids,
Minny Pops,
Art Ensemble Of Chicago,
Excepter,
Minnie Riperton,
FM Einheit,
Rosa Yemen,
Eurythmics,
The Alarm Clocks,
Selector Dub Narcotic,
The Pretty Things,
L. Decosne,
Kayak,
the Fania All-Stars,
Bizarre Inc.,
The Smiths,
Silicon Teens,
Franke,
Slick Rick,
One Last Wish,
Supertramp,
The Techniques,
John Lydon,
The Count Five,
Mandrill,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.