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 Taiwan and from Seoul.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Kurtis Blow to the jazz kids.
I played it at the Spitz.
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 F. McDonald. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Wolf Eyes,
Blake Baxter,
Harpers Bizarre,
The Buckinghams,
Minor Threat,
Jerry Gold Smith,
Supertramp,
Ohio Players,
Todd Terry,
Rakim,
Grandmaster Flash and the Furious Five,
Man Parrish,
Stetsasonic,
Mad Mike,
Patti Smith,
Masters at Work,
X-101,
Crispy Ambulance,
Marmalade,
Teenage Jesus and the Jerks,
Crash Course in Science,
The Move,
Roxy Music,
Flash Fearless,
Barry Ungar,
Liaisons Dangereuses,
Boogie Down Productions,
Throbbing Gristle,
Roxette,
Major Organ And The Adding Machine,
John Holt,
Andrew Ashong & Theo Parrish,
Pylon,
Von Mondo,
Marc Romboy vs. Booka Shade,
Warren Ellis,
The Golliwogs,
Audionom,
Fugazi,
Manfred Mann's Earth Band,
Main Source,
Jeff Lynne,
The Remains,
Unwound,
Loose Ends,
The Chocolate Watch Band,
D'Angelo,
David Axelrod,
Joyce Sims,
The Cure,
Strawberry Alarm Clock,
Iggy Pop,
Index,
FM Einheit,
Intrusion,
Nik Kershaw,
U.S. Maple,
Harmonia,
Albert Ayler,
Slave,
The Monochrome Set,
Liliput,
Don Cherry,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.