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 Cambodia and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Manila 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 theremin 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 Tropical Tobacco to the grunge kids.
I played it at Cafe Wha.
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 Fort Wilson Riot. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Banda Bassotti,
Juan Atkins,
The Moleskins,
Jimmy McGriff,
Spandau Ballet,
The Toasters,
Alton Ellis,
Delta 5,
The Jesus and Mary Chain,
Roger Hodgson,
Idris Muhammad,
The Associates,
Charles Mingus,
Model 500,
Hashim,
Mad Mike,
Public Image Ltd.,
Talk Talk,
The Leaves,
Deepchord,
Wally Richardson,
Rites of Spring,
Second Layer,
Dennis Brown,
Erykah Badu,
Avey Tare's Slasher Flicks,
Kerri Chandler,
Eve St. Jones,
The Zeros,
Sam Rivers,
Interpol,
Jeff Mills,
Bang On A Can,
Rakim,
Eddi Front,
The Selecter,
Curtis Mayfield,
Flipper,
Howard Jones,
Dorothy Ashby,
Gabor Szabo,
Tim Buckley,
Masters at Work,
Bob Dylan,
10cc,
X-Ray Spex,
Isaac Hayes,
Suicide,
The Wake,
Sister Nancy,
Television Personalities,
Man Eating Sloth,
Grey Daturas,
Black Bananas,
Bootsy Collins,
Amon Düül II,
R.M.O.,
Lou Reed & Metallica,
Deadbeat,
KRS-One,
Shuggie Otis,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.