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 Sweden 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 1960 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Ralphi Rosario to the crunk 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Vainqueur,
Althea and Donna,
Magazine,
Bad Manners,
The Knickerbockers,
Fifty Foot Hose,
Terry Callier,
Jeru the Damaja,
X-101,
Fort Wilson Riot,
Bronski Beat,
Brass Construction,
Ten City,
Unwound,
Niagra,
Vladislav Delay,
Pagans,
Swell Maps,
10cc,
Pharaoh Sanders and the Fire Engines,
Gil Scott-Heron & Brian Jackson,
Ultramagnetic MC's,
Essential Logic,
Gerry Rafferty,
Nils Olav,
Cymande,
Scan 7,
Moss Icon,
James White and The Blacks,
Deakin,
The Zeros,
Oblivians,
Slave,
DeepChord presents Echospace,
EPMD,
Camberwell Now,
Throbbing Gristle,
Charles Mingus,
Anakelly,
The Names,
Tom Boy,
The Last Poets,
Agent Orange,
Lebanon Hanover,
Parry Music,
Curtis Mayfield,
Jerry Gold Smith,
Heaven 17,
The Golliwogs,
Roy Ayers,
The Doobie Brothers,
Morten Harket,
Ultra Naté,
The Misunderstood,
Sixth Finger,
Agitation Free,
Public Image Ltd.,
Fela Kuti,
Model 500,
Matthew Bourne,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.