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 Sudan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the organ sounds with much patience.
I was there when Holger Czukay 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 Magazine to the jazz kids.
I played it at Trash.
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 Lalann. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Letta Mbulu 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Jerry Gold Smith,
JFA,
Gabor Szabo,
Dorothy Ashby,
Altered Images,
Andrew Ashong & Theo Parrish,
Darondo,
The Zeros,
Q65,
The Neon Judgement,
Marc Almond,
Spandau Ballet,
Johnny Osbourne,
New Age Steppers,
Animal Collective,
The Invisible,
Depeche Mode,
The Dead C,
Black Pus,
The Associates,
Lebanon Hanover,
Stetsasonic,
Audionom,
The Flesh Eaters,
Flamin' Groovies,
Sad Lovers and Giants,
Flipper,
Crispian St. Peters,
It's A Beautiful Day,
Electric Light Orchestra,
Eurythmics,
Albert Ayler,
Ultra Naté,
Nation of Ulysses,
The Busters,
Manfred Mann's Earth Band,
Godley & Creme,
Gang Starr,
The Peanut Butter Conspiracy,
Talk Talk,
Maurizio,
Max Romeo,
Dr. Dre and Snoop Doggy Dog,
The Cure,
Smog,
The Standells,
Pere Ubu,
Gang Green,
The Gun Club,
Mad Mike,
The Grass Roots,
Young Marble Giants,
Babytalk,
Beasts of Bourbon,
Piero Umiliani,
Mr. Review,
Accadde A,
James White and The Blacks,
Soul Sonic Force,
Donny Hathaway,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.