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 United States and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Jakarta 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Connie Case to the grime kids.
I played it at the Spitz.
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 It's A Beautiful Day. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Fela Kuti,
Country Teasers,
Ultravox,
Gil Scott Heron,
Unrelated Segments,
The Alarm Clocks,
Rotary Connection,
Monks,
The Sonics,
K-Klass,
Flash Fearless,
Ponytail,
Franke,
Brick,
The Skatalites,
The Invisible,
Infiniti,
The West Coast Pop Art Experimental Band,
Harpers Bizarre,
Organ,
Depeche Mode,
Be Bop Deluxe,
Lou Reed,
The Monks,
The Mighty Diamonds,
Lyres,
Aural Exciters,
Q and Not U,
Ice-T,
It's A Beautiful Day,
The Moody Blues,
the Slits,
LL Cool J,
The Modern Lovers,
The Gun Club,
Scan 7,
The Busters,
Bauhaus,
Harry Pussy,
Teenage Jesus and the Jerks,
Khruangbin,
Michelle Simonal,
Anakelly,
Albert Ayler,
These Immortal Souls,
Major Organ And The Adding Machine,
Rakim,
Barrington Levy,
Nico,
Nation of Ulysses,
Mandrill,
Eden Ahbez,
Gichy Dan,
Maleditus Sound,
Pet Shop Boys,
Cecil Taylor,
De La Soul & Jungle Brothers,
Bobbi Humphrey,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.