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 Uzbekistan and from Lille.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Portland.
I'm losing my edge to the art-school Manila 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Susan Cadogan to the techno 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 Crispy Ambulance. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every The Smoke 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic 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?
Sun City Girls,
Camron Feat. Memphis Bleek And Beenie Seigel,
D'Angelo,
Thee Headcoats,
Harry Pussy,
Skarface,
The Fire Engines,
Moby Grape,
The Young Rascals,
Erykah Badu,
Flash Fearless,
The Fall,
Public Image Ltd.,
Yellowson,
Danielle Patucci,
Peter & Gordon,
Marmalade,
The Last Poets,
Visionaries,LMNO, T- Love & Iriscience,
Infiniti,
Malaria!,
Simply Red,
David McCallum,
Kas Product,
T.S.O.L.,
Pulsallama,
Oppenheimer Analysis,
Parry Music,
Rekid,
Scan 7,
Marcia Griffiths,
Gang Starr,
Marc Romboy vs. Booka Shade,
Ludus,
Kaleidoscope,
Barrington Levy,
Ice-T,
Jesper Dahlback,
The Jesus and Mary Chain,
Amon Düül II,
R.M.O.,
David Bowie,
Röyhkä ja Rättö ja Lehtisalo,
Camberwell Now,
Arab on Radar,
Bobbi Humphrey,
The Star Department,
Bluetip,
Essential Logic,
The Detroit Cobras,
Mission of Burma,
The Selecter,
Lungfish,
Fugazi,
Harmonia,
The Electric Prunes,
DJ Style,
Boredoms,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.