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 Panama and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Columbus 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 Nile Rodgers 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 Al Stewart to the funk kids.
I played it at Cafe Wha.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Nation of Ulysses,
DNA,
Heaven 17,
Hasil Adkins,
Nirvana,
Los Fastidios,
Soulsonic Force,
One Last Wish,
The Doors,
Pete Rock & C.L. Smooth,
James White and The Blacks,
Barrington Levy,
Crispy Ambulance,
Barbara Tucker,
Man Eating Sloth,
Newcleus,
Intrusion,
Ohio Players,
The Dirtbombs,
ABC,
Robert Görl,
The Count Five,
Oppenheimer Analysis,
The Index,
Ultravox,
Kerrie Biddell,
Thee Headcoats,
Bluetip,
Barry Ungar,
The Leaves,
Teenage Jesus and the Jerks,
Magazine,
Ituana,
Stetsasonic,
Theoretical Girls,
John Lydon,
Echo & the Bunnymen,
Art Ensemble Of Chicago,
Kango’s Stein Massive,
The Gories,
Quantec,
Yusef Lateef,
Sister Nancy,
Radio Birdman,
Kauko Röyhkä ja Narttu,
Technova,
FM Einheit,
Icehouse,
Kenny Larkin,
Dorothy Ashby,
The Happenings,
The Music Machine,
Idris Muhammad,
Pantytec,
Kerri Chandler,
Roxy Music,
The Selecter,
Crooked Eye,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.