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 Palau and from Mexico City.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Delhi 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 linndrum 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 Todd Terry to the jazz kids.
I played it at the 40 Watt.
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 Rhythim Is Rhythim. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Ultravox 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Sex Pistols,
Fela Kuti,
Captain Beefheart & His Magic Band,
Drive Like Jehu,
Joe Smooth,
Zapp,
The Angels of Light,
Negative Approach,
Frankie Knuckles,
Crooked Eye,
Quadrant,
Au Pairs,
The Young Rascals,
Sly & The Family Stone,
Stockholm Monsters,
T. Rex,
Maleditus Sound,
The Music Machine,
Mark Hollis,
Black Flag,
The American Breed,
Quando Quango,
Wings,
Curtis Mayfield,
Procol Harum,
John Coltrane,
Junior Murvin,
Rowland S Howard / Lydia Lunch,
Gong,
June Days,
The Mummies,
Bizarre Inc.,
the Germs,
The Fuzztones,
Soulsonic Force,
Roy Ayers Ubiquity,
Avey Tare & Kría Brekkan,
Pet Shop Boys,
Donald Byrd,
Alphaville,
the Association,
Kaleidoscope,
Los Fastidios,
Eyeless In Gaza,
Blossom Toes,
Rekid,
Mars,
Thinking Fellers Union Local 282,
Joensuu 1685,
Jeff Mills,
China Crisis,
JFA,
Howard Jones,
Dead Boys,
Whodini,
Archie Shepp,
Kerrie Biddell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minny Pops,
Deakin,
Liaisons Dangereuses,
Oppenheimer Analysis,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.