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 Brazil and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Stockholm 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Desert Stars to the grunge 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 Jerry's Kids. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Bobby Byrd,
Pete Rock & C.L. Smooth,
Minny Pops,
Eve St. Jones,
Bootsy's Rubber Band,
Metal Thangz,
The Misunderstood,
Crooked Eye,
Television Personalities,
Niagra,
The Gladiators,
Pere Ubu,
Interpol,
Bizarre Inc.,
Sarah Menescal,
Barbara Tucker,
Sexual Harrassment,
The Men They Couldn't Hang,
Skriet,
Gang Gang Dance,
Traffic Nightmare,
Sound Behaviour,
The Litter,
Oblivians,
Arthur Verocai,
DeepChord presents Echospace,
Japan,
The Royal Family And The Poor,
Darondo,
Urselle,
Livin' Joy,
Connie Case,
The Selecter,
Thee Headcoats,
Sonic Youth,
10cc,
Steve Hackett,
Electric Light Orchestra,
Orchestral Manoeuvres in the Dark,
Swell Maps,
The Last Poets,
Black Sheep,
Spoonie Gee,
Nas,
The Shadows of Knight,
The Motions,
Ultramagnetic MC's,
Tears for Fears,
Joy Division,
Beasts of Bourbon,
Thinking Fellers Union Local 282,
Hasil Adkins,
Jacob Miller,
Jeff Mills,
Grey Daturas,
Severed Heads,
Young Marble Giants,
Gregory Isaacs,
Marvin Gaye,
Robert Wyatt,
Todd Terry,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.