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 Haiti and from Tokyo.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Davy DMX to the funk kids.
I played it at CBGB's.
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 Scrapy. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Mark Hollis,
DNA,
The Moody Blues,
Sugar Minott,
Pharaoh Sanders and the Fire Engines,
Swans,
Hoover,
Soft Machine,
Pierre Henry,
Visionaries,LMNO, T- Love & Iriscience,
Bobby Sherman,
Sticky Fingaz feat. Raekwon,
Vladislav Delay,
Bill Wells,
Andrew Ashong & Theo Parrish,
The Five Americans,
Fat Boys,
Robert Hood,
Stetsasonic,
Jeff Mills,
Wolf Eyes,
Rotary Connection,
Bootsy's Rubber Band,
Robert Görl,
Derrick Morgan,
Gary Puckett & The Union Gap,
Nas,
Teenage Jesus and the Jerks,
Maurizio,
Das Ding,
It's A Beautiful Day,
Visage,
Country Joe & The Fish,
Main Source,
Dorothy Ashby,
The Sound,
Adolescents,
Curtis Mayfield,
The Grass Roots,
June of 44,
Cal Tjader,
Grandmaster Flash and the Furious Five,
Blossom Toes,
Isaac Hayes,
The Barracudas,
Strawberry Alarm Clock,
Mad Mike,
Severed Heads,
Los Fastidios,
Graham Central Station,
The Fuzztones,
X-101,
PIL,
Sparks,
Blake Baxter,
The Monks,
Simply Red,
Roxette,
Electric Light Orchestra,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.