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 Nauru and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Hashim to the crunk 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 Marvin Gaye. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Blake Baxter,
Skaos,
The American Breed,
Scott Walker,
Ornette Coleman,
Eden Ahbez,
Grey Daturas,
Kauko Röyhkä ja Narttu,
The Gories,
The Cure,
Fat Boys,
K-Klass,
Scientists,
Art Ensemble Of Chicago,
The Sound,
Thee Headcoats,
Rahsaan Roland Kirk,
Simply Red,
MC5,
The Martian,
Darondo,
Frankie Knuckles,
Mr. Review,
Jerry Gold Smith,
Aaron Thompson,
Eli Mardock,
Agitation Free,
Khruangbin,
The Beau Brummels,
Jacques Brel,
Gil Scott-Heron and Jamie xx,
Leonard Cohen,
Neil Young,
The Smiths,
Das Ding,
Joy Division,
Big Daddy Kane,
The Smoke,
Angry Samoans,
Ten City,
Brick,
The Cowsills,
Radio Birdman,
Dennis Brown,
Judy Mowatt,
Bluetip,
Clear Light,
Audionom,
Ludus,
Camron Feat. Memphis Bleek And Beenie Seigel,
E-Dancer,
Talk Talk,
Notorious Big And Bone Thugs,
the Normal,
Warren Ellis,
Mary Jane Girls,
The Music Machine,
Magazine, Magazine, Magazine, Magazine.
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.