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 El Salvador and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 New York and Seoul.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when David Bowie 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 Pere Ubu to the crunk kids.
I played it at Cafe Wha.
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 Funky Four + One. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The United States of America,
Fluxion,
Kerri Chandler,
Traffic Nightmare,
the Fania All-Stars,
Connie Case,
Con Funk Shun,
Scrapy,
Harpers Bizarre,
Heavy D & The Boyz,
KRS-One,
Tropical Tobacco,
Maurizio,
Frankie Knuckles,
Kool G Rap & DJ Polo,
The Techniques,
Piero Umiliani,
Kings Of Tomorrow,
Oneida,
The Real Kids,
Thompson Twins,
Boredoms,
Dark Day,
Barclay James Harvest,
Sugar Minott,
Gastr Del Sol,
The Vogues,
The Sound,
Crash Course in Science,
Laurel Aitken,
Los Fastidios,
The Cosmic Jokers,
Angels of Light & Akron/Family,
Pierre Henry,
Altered Images,
Jacob Miller,
Lafayette Afro Rock Band,
Soft Cell,
Crime,
Sound Behaviour,
Pagans,
CMW,
Bob Dylan,
Deepchord,
Kango’s Stein Massive,
Jimmy McGriff,
Groovy Waters,
This Heat,
Michelle Simonal,
John Foxx,
Marshall Jefferson,
Pharoah Sanders,
Rosa Yemen,
Marmalade,
The Detroit Cobras,
Pussy Galore,
Ten City,
The Doobie Brothers,
Ultramagnetic MC's,
MDC,
OOIOO,
Howard Jones,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.