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 Cape Verde and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Bologna 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 June of 44 to the grime 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 Eden Ahbez. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Lakeside 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Mr. Review,
Carl Craig,
The Zeros,
Soul Sonic Force,
Crispian St. Peters,
Alphaville,
Moby Grape,
Pylon,
The Dave Clark Five,
Dead Boys,
Nation of Ulysses,
Ludus,
In Retrospect,
Sun Ra Arkestra,
Chris Corsano,
Negative Approach,
Avey Tare's Slasher Flicks,
Boogie Down Productions,
The Kinks,
Charles Mingus,
Junior Murvin,
Thinking Fellers Union Local 282,
Easy Going,
Fear,
Scion,
Whodini,
Isaac Hayes,
The Pop Group,
The Neon Judgement,
Amon Düül,
Danielle Patucci,
Q65,
John Coltrane,
Cybotron,
Dual Sessions,
Avey Tare,
Deadbeat,
Desert Stars,
The Victims,
John Foxx,
Sad Lovers and Giants,
The Associates,
Gil Scott-Heron and Jamie xx,
Sandy B,
Sällskapet,
Eurythmics,
Parry Music,
Soulsonic Force,
Aaron Thompson,
Accadde A,
Gastr Del Sol,
Vainqueur,
The Dirtbombs,
The Leaves,
Cabaret Voltaire,
Sonny Sharrock,
Kevin Saunderson,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.