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 Solomon Islands and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Mighty Diamonds to the dance kids.
I played it at the Roxy.
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 LL Cool J. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every The Skatalites 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Jandek,
John Holt,
Traffic Nightmare,
De La Soul & Jungle Brothers,
Aswad,
Gregory Isaacs,
Gang of Four,
Althea and Donna,
Buzzcocks,
Half Japanese,
Bootsy's Rubber Band,
Ultravox,
Bush Tetras,
Sister Nancy,
Kaleidoscope,
Stereo Dub,
Peter Gordon & Love of Life Orchestra,
The Velvet Underground,
Schoolly D,
Rekid,
Roy Ayers Ubiquity,
kango's stein massive,
Donald Byrd,
Kurtis Blow,
The Birthday Party,
Bootsy Collins,
The Standells,
Radiohead,
Flipper,
Swans,
Ralphi Rosario,
Scrapy,
Reagan Youth,
Crash Course in Science,
The Red Krayola,
Ice-T,
Bronski Beat,
Fort Wilson Riot,
Faraquet,
The Alarm Clocks,
Swell Maps,
Arcadia,
Monks,
Pierre Henry,
The Selecter,
The Vogues,
Morten Harket,
The Sound,
Masters at Work,
Gil Scott-Heron & Brian Jackson,
Marc Romboy vs. Booka Shade,
Darondo,
Neil Young & Crazy Horse,
Danielle Patucci,
Loose Ends,
Dark Day,
In Retrospect,
Robert Wyatt,
Lebanon Hanover,
Isaac Hayes,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.