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 Czech Republic and from Woodstock.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
I'm losing my edge to the art-school Lille 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 Nile Rodgers 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 In Retrospect to the dance 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 Toni Rubio. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Gil Scott Heron 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Beasts of Bourbon,
June of 44,
Newcleus,
Camouflage,
Excepter,
Fela Kuti,
Isaac Hayes,
Adolescents,
Rhythim Is Rhythim,
Mark Hollis,
Byron Stingily,
Pharaoh Sanders and the Fire Engines,
Audionom,
H. Thieme,
John Foxx,
Joy Division,
Bauhaus,
Rahsaan Roland Kirk,
Fear,
Max Romeo,
Country Joe & The Fish,
Kas Product,
Scrapy,
Robert Hood,
FM Einheit,
Quadrant,
Hoover,
Teenage Jesus and the Jerks,
Kool Moe Dee,
Brand Nubian,
The Beau Brummels,
Delon & Dalcan,
Cybotron,
Yusef Lateef,
Toni Rubio,
Harpers Bizarre,
Shuggie Otis,
Sunsets and Hearts,
June Days,
Slick Rick,
Y Pants,
The Monks,
DJ Style,
Juan Atkins,
Accadde A,
Flipper,
Liaisons Dangereuses,
The Cramps,
Symarip,
Sexual Harrassment,
Mary Jane Girls,
The Leaves,
Magazine,
Make Up,
Janne Schatter,
The Offenders,
Brass Construction,
The Martian,
Roxy Music,
Matthew Halsall,
Loose Ends,
The Cure,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.