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 Cape Verde and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Houston 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 marimba 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 The Martian to the jazz 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 Arcadia. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
the Swans,
Porter Ricks,
Vaughan Mason & Crew,
Gabor Szabo,
James White and The Blacks,
The Chocolate Watch Band,
Scion,
Lalann,
Stiv Bators,
The United States of America,
Art Ensemble Of Chicago,
Ultra Naté,
Sparks,
Prince Buster,
Jesper Dahlback,
Bob Dylan,
Skarface,
Bootsy Collins,
Motorama,
Unrelated Segments,
Soul II Soul,
Neil Young,
Deakin,
Lafayette Afro Rock Band,
Popol Vuh,
the Normal,
Pere Ubu,
The Gap Band,
Ponytail,
Captain Beefheart & His Magic Band,
Albert Ayler,
Connie Case,
Hashim,
Ohio Players,
Mandrill,
Crash Course in Science,
Quantec,
Harmonia,
Ornette Coleman,
Lebanon Hanover,
Main Source,
Chris & Cosey,
a-ha,
Judy Mowatt,
The Monochrome Set,
Moebius,
Supertramp,
Bootsy's Rubber Band,
Traffic Nightmare,
Eurythmics,
The Cowsills,
Sly & The Family Stone,
U.S. Maple,
Kauko Röyhkä ja Narttu,
Pete Rock & C.L. Smooth,
the Germs,
Ice-T,
Juan Atkins,
Jacques Brel,
Radiohead,
The Searchers,
Kaleidoscope,
Mary Jane Girls,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.