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 Australia and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school Glasgow 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 güiro 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 The American Breed to the techno 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 Make Up. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Quadrant,
Pere Ubu,
The Pop Group,
ABC,
Motorama,
Red Lorry Yellow Lorry,
Subhumans,
Animal Collective,
Graham Central Station,
Kenny Larkin,
The Gap Band,
Siglo XX,
The Mighty Diamonds,
Lungfish,
Qualms,
Sound Behaviour,
Nick Fraelich,
Deakin,
MDC,
Mr. Review,
The Gladiators,
Mandrill,
Parry Music,
Todd Terry,
Crispy Ambulance,
Fela Kuti,
Man Eating Sloth,
Accadde A,
Saccharine Trust,
Ajijia Myrayebe,
Todd Rundgren,
Cecil Taylor,
Kings Of Tomorrow,
Intrusion,
Marine Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Connie Case,
Scion,
Aural Exciters,
A Flock of Seagulls,
The Victims,
Art Ensemble Of Chicago,
Kurtis Blow,
Thinking Fellers Union Local 282,
The Martian,
Arab on Radar,
The Walker Brothers,
8 Eyed Spy,
Lindisfarne,
Angry Samoans,
The Leaves,
Amazonics,
The Toasters,
EPMD,
Sonny Sharrock,
Kevin Saunderson,
Fifty Foot Hose,
Arcadia,
Nas,
The Buckinghams,
Japan,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.