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 Nepal and from Hong Kong.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Eve St. Jones 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 Pole. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Rhythm & Sound 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Young Marble Giants,
Boz Scaggs,
Gary Puckett & The Union Gap,
Pierre Henry,
Liliput,
The Jesus and Mary Chain,
Lebanon Hanover,
Louis and Bebe Barron,
Spoonie Gee,
Gang of Four,
One Last Wish,
Kayak,
The Selecter,
Avey Tare & Kría Brekkan,
Tears for Fears,
Man Eating Sloth,
DJ Style,
Rhythm & Sound,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
Country Joe & The Fish,
Marcia Griffiths,
James White and The Blacks,
Livin' Joy,
Throbbing Gristle,
The Dave Clark Five,
Johnny Osbourne,
Tommy Roe,
Gian Franco Pienzio,
Joe Finger,
the Germs,
The Grass Roots,
Flamin' Groovies,
Wings,
Ponytail,
K-Klass,
Jacob Miller,
The Fugs,
Marvin Gaye,
Rites of Spring,
Kerri Chandler,
Jacques Brel,
Bluetip,
Camron Feat. Memphis Bleek And Beenie Seigel,
Babytalk,
Marshall Jefferson,
H. Thieme,
Curtis Mayfield,
Yusef Lateef,
Freddie Wadling,
Q65,
Lightning Bolt,
Siglo XX,
Oblivians,
Camouflage,
Magma,
Negative Approach,
The Gap Band,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.