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 Panama and from Taipei.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Technova to the grime 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 Oppenheimer Analysis. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
D'Angelo,
Barbara Tucker,
The Neon Judgement,
The Invisible,
Chrome,
Graham Central Station,
Donny Hathaway,
Porter Ricks,
Cal Tjader,
Mary Jane Girls,
Intrusion,
Hoover,
Johnny Clarke,
Charles Mingus,
Pete Rock & C.L. Smooth,
Goldenarms,
Gian Franco Pienzio,
Eddi Front,
Lyres,
Toni Rubio,
Ohio Players,
Rahsaan Roland Kirk,
Easy Going,
Lightning Bolt,
Urselle,
EPMD,
Sight & Sound,
Visionaries,LMNO, T- Love & Iriscience,
48th St. Collective,
Maleditus Sound,
The Moody Blues,
Fluxion,
Tom Boy,
Camouflage,
The Grass Roots,
Brand Nubian,
Talk Talk,
Man Parrish,
Lungfish,
Rod Modell,
Gastr Del Sol,
Scientists,
Bauhaus,
Theoretical Girls,
The West Coast Pop Art Experimental Band,
Electric Prunes,
Sixth Finger,
Fad Gadget,
Maurizio,
Crooked Eye,
Lou Christie,
Sarah Menescal,
The Blackbyrds,
Matthew Bourne,
Hasil Adkins,
Isaac Hayes,
Joensuu 1685,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.