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 Ecuador and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Hong Kong 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 Robert Palmer 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 The Count Five to the rap kids.
I played it at the Hacienda.
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 L. Decosne. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Lucky Dragons,
Second Layer,
Bad Manners,
Bill Near,
The Offenders,
Liliput,
Drive Like Jehu,
Sparks,
Todd Rundgren,
The Moody Blues,
The Index,
Frankie Knuckles,
Yusef Lateef,
Japan,
The Litter,
Terrestrial Tones,
Charles Mingus,
Unwound,
Crime,
Todd Terry,
Ash Ra Tempel,
The Monochrome Set,
The Count Five,
Hashim,
Mr. Review,
Girls At Our Best!,
Manfred Mann's Earth Band,
Guru Guru,
Porter Ricks,
Erasure,
The Slits,
Johnny Clarke,
Boredoms,
Pylon,
The West Coast Pop Art Experimental Band,
Ten City,
Desert Stars,
Kool Moe Dee,
Crash Course in Science,
Mark Hollis,
Siouxsie and the Banshees,
The Toasters,
Scan 7,
DeepChord presents Echospace,
the Sonics,
Arthur Verocai,
Selector Dub Narcotic,
Crispy Ambulance,
Brand Nubian,
Agitation Free,
Skarface,
Anakelly,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Crispian St. Peters,
Jeru the Damaja,
Eric Copeland,
Accadde A,
Donald Byrd,
Quadrant,
The Selecter,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.