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 Mexico and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Edmonton 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 Negative Approach to the techno kids.
I played it at the Roxy.
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 Roxy Music. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
the Germs,
The Slackers,
Notorious BIG live in Amsterdam,
Avey Tare & Kría Brekkan,
Surgeon,
Roy Ayers,
The Walker Brothers,
Rhythim Is Rhythim,
The Pop Group,
Eric B and Rakim,
Gil Scott Heron,
Metal Thangz,
Dorothy Ashby,
Sex Pistols,
Skarface,
The Fall,
the Soft Cell,
Barrington Levy,
Boz Scaggs,
Rowland S Howard / Lydia Lunch,
Camron Feat. Memphis Bleek And Beenie Seigel,
Reuben Wilson,
Model 500,
Gastr Del Sol,
Ten City,
Flamin' Groovies,
Gil Scott-Heron and Jamie xx,
Donny Hathaway,
Slave,
Josef K,
Nick Cave & The Bad Seeds,
Kings Of Tomorrow,
Ash Ra Tempel,
The Motions,
Thinking Fellers Union Local 282,
Monolake,
Visionaries,LMNO, T- Love & Iriscience,
The Real Kids,
The West Coast Pop Art Experimental Band,
Scientists,
Robert Görl,
Motorama,
Erykah Badu,
Siglo XX,
Jandek,
Stockholm Monsters,
Franke,
The J.B.'s,
Fear,
The Stooges,
Bill Near,
Circle Jerks,
The Litter,
Justin Hinds & The Dominoes,
Brass Construction,
This Heat,
The Gap Band,
Lebanon Hanover,
Heaven 17,
Crispian St. Peters,
Warsaw,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.