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 Burundi and from New York.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Accra 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Lalo Schifrin to the rap 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 Oneida. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
the Bar-Kays,
Guru Guru,
Sugar Minott,
Pharoah Sanders,
Dr. Dre and Snoop Doggy Dog,
Oppenheimer Analysis,
Erasure,
Man Eating Sloth,
Crash Course in Science,
The Fugs,
Ultravox,
Johnny Clarke,
Hasil Adkins,
Rhythim Is Rhythim,
FM Einheit,
Wolf Eyes,
Arcadia,
Rotary Connection,
Don Cherry,
Gichy Dan,
Model 500,
Gang of Four,
Cal Tjader,
Lizzy Mercier Descloux,
Eurythmics,
Justin Hinds & The Dominoes,
Minny Pops,
T. Rex,
The Monks,
Laurel Aitken,
The Cowsills,
Jawbox,
This Heat,
Bob Dylan,
The Doobie Brothers,
Kango’s Stein Massive,
Bronski Beat,
Lou Reed & John Cale,
Japan,
Pantytec,
Orchestral Manoeuvres in the Dark,
Franke,
Andrew Hill,
Desert Stars,
K-Klass,
Beasts of Bourbon,
Frankie Knuckles,
John Coltrane,
The Mojo Men,
Black Sheep,
Ken Boothe,
Stereo Dub,
Neu!,
Niagra,
The Divine Comedy,
Cabaret Voltaire,
Barrington Levy,
Visage, Visage, Visage, Visage.
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.