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 Bangladesh and from Portland.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school Calgary 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 Minny Pops to the jazz kids.
I played it at the Astoria.
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 Y Pants. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Freddie Wadling,
Stockholm Monsters,
Lyres,
Procol Harum,
Darondo,
Q65,
De La Soul & Jungle Brothers,
Yusef Lateef,
Bang on a Can All-Stars,
The Evens,
Steve Hackett,
Tomorrow,
Spoonie Gee,
Bizarre Inc.,
Malaria!,
Chris Corsano,
Cymande,
Throbbing Gristle,
Circle Jerks,
The Saints,
Stereo Dub,
Mantronix,
Kaleidoscope,
Lizzy Mercier Descloux,
Easy Going,
Ludus,
EPMD,
The Techniques,
Sister Nancy,
Vladislav Delay,
Glambeats Corp.,
Juan Atkins,
The Velvet Underground,
Marine Girls,
The Seeds,
Kool Moe Dee,
Pere Ubu,
The Gun Club,
The Wake,
Tears for Fears,
UT,
Eden Ahbez,
Wolf Eyes,
The Gap Band,
Pole,
Rhythm & Sound,
Joyce Sims,
Can,
Curtis Mayfield,
Joe Finger,
Soul II Soul,
The Chocolate Watch Band,
Schoolly D,
Wire,
Sticky Fingaz feat. Raekwon,
Audionom,
Susan Cadogan,
Banda Bassotti,
Crash Course in Science,
New Age Steppers,
This Heat,
T. Rex,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.