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 Slovakia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Jakarta 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 Donald Fagen 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 Aaron Thompson to the disco kids.
I played it at the Astoria.
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 Buzzcocks. All the underground hits.
All The West Coast Pop Art Experimental Band 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 disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Strawberry Alarm Clock,
Siouxsie and the Banshees,
Faust,
Echo & the Bunnymen,
Lebanon Hanover,
Smog,
The Dave Clark Five,
Michelle Simonal,
Slave,
Wighnomy Brothers & Robag Wruhme,
Albert Ayler,
Audionom,
Alphaville,
Throbbing Gristle,
Rhythm & Sound,
David Axelrod,
OOIOO,
Ultra Naté,
The Standells,
Crash Course in Science,
D'Angelo,
Japan,
Sam Rivers,
Ludus,
The Moody Blues,
Cecil Taylor,
Mr. Review,
The Last Poets,
Jandek,
Henry Cow,
The Red Krayola,
Carl Craig,
Jerry Gold Smith,
Bobby Hutcherson,
X-102,
Bang On A Can,
Avey Tare's Slasher Flicks,
Scion,
Hashim,
Juan Atkins,
Erasure,
Quantec,
the Germs,
Saccharine Trust,
Sparks,
The Slits,
Minutemen,
Rosa Yemen,
Sonny Sharrock,
Todd Terry,
Art Ensemble Of Chicago,
Dawn Penn,
Lafayette Afro Rock Band,
Guru Guru,
Soft Machine,
Janne Schatter,
The Five Americans,
FM Einheit,
Lee Hazlewood,
LL Cool J,
R.M.O.,
Todd Rundgren,
Inner City, Inner City, Inner City, Inner City.
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.