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 Guinea and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Jesper Dahlbäck to the rap 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 The Associates. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Eric Dolphy,
Lebanon Hanover,
The Techniques,
Excepter,
Y Pants,
Wings,
Quadrant,
Sun Ra,
EPMD,
Letta Mbulu,
Magma,
Peter & Gordon,
Arcadia,
Country Teasers,
Gerry Rafferty,
Strawberry Alarm Clock,
Sparks,
Captain Beefheart & His Magic Band,
Maleditus Sound,
Deakin,
Lucky Dragons,
R.M.O.,
48th St. Collective,
The Martian,
Funkadelic,
The Blackbyrds,
The J.B.'s,
Saccharine Trust,
Curtis Mayfield,
Janne Schatter,
The Shadows of Knight,
Kerrie Biddell,
The Gap Band,
Jimmy McGriff,
De La Soul & Jungle Brothers,
The Doors,
Tears for Fears,
Television Personalities,
New Order,
Ronnie Foster,
Cymande,
Be Bop Deluxe,
Ralphi Rosario,
Cecil Taylor,
Zapp,
Carl Craig,
Dennis Brown,
Public Image Ltd.,
Roy Ayers Ubiquity,
Unwound,
Ice-T,
Radio Birdman,
Bootsy Collins,
The Move,
Minnie Riperton,
The Remains,
The Leaves,
Outsiders,
Larry & the Blue Notes,
Arthur Verocai,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Saints,
It's A Beautiful Day,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.