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 Jordan and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Paris 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 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 Marc Romboy vs. Booka Shade to the funk 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 Scott Walker. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Sexual Harrassment 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Model 500,
Pylon,
The Cowsills,
Unrelated Segments,
Lebanon Hanover,
Pulsallama,
Guru Guru,
Marshall Jefferson,
The Human League,
Sight & Sound,
Q and Not U,
Patti Smith,
Duran Duran,
Janne Schatter,
Camberwell Now,
Darondo,
Chris Corsano,
Letta Mbulu,
Crash Course in Science,
Barry Ungar,
The Golliwogs,
Junior Murvin,
Bauhaus,
Electric Prunes,
Crispy Ambulance,
Angry Samoans,
Ultimate Spinach,
The Men They Couldn't Hang,
Albert Ayler,
Alton Ellis,
Babytalk,
The Standells,
David Axelrod,
Harpers Bizarre,
Eli Mardock,
AZ,
Maurizio,
The Divine Comedy,
Archie Shepp,
Yazoo,
Girls At Our Best!,
Barrington Levy,
The Star Department,
Country Teasers,
Selector Dub Narcotic,
Sunsets and Hearts,
Hoover,
Robert Wyatt,
Gichy Dan,
Lalann,
Television,
Kerrie Biddell,
Nas,
The Selecter,
World's Most,
The Gap Band,
Don Cherry,
Zapp,
Gabor Szabo,
Underground Resistance,
Marc Romboy vs. Booka Shade,
Skaos, Skaos, Skaos, Skaos.
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.