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 Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Manchester 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 The Alarm Clocks to the jazz 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 Pantytec. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Jawbox,
Alton Ellis,
Susan Cadogan,
Quadrant,
A Certain Ratio,
Bootsy Collins,
Pete Rock & C.L. Smooth,
Lee Hazlewood,
Bill Wells,
Idris Muhammad,
Warsaw,
Sarah Menescal,
Arcadia,
Robert Görl,
Circle Jerks,
Bobby Hutcherson,
Bauhaus,
Eli Mardock,
Pere Ubu,
Electric Prunes,
Gian Franco Pienzio,
Banda Bassotti,
Talk Talk,
Justin Hinds & The Dominoes,
Aloha Tigers,
Public Enemy,
the Association,
Alphaville,
Brick,
Radiohead,
Ituana,
Iggy Pop,
Sexual Harrassment,
Kool Moe Dee,
EPMD,
Crooked Eye,
Roxy Music,
Johnny Clarke,
Scientists,
Country Teasers,
Cymande,
Scratch Acid,
Aswad,
Girls At Our Best!,
Dr. Dre and Snoop Doggy Dog,
The Techniques,
Jesper Dahlback,
Porter Ricks,
Slave,
the Slits,
Angry Samoans,
Ultimate Spinach,
Dorothy Ashby,
Roy Ayers,
Tears for Fears,
Toni Rubio,
Bobby Sherman,
Graham Central Station,
Con Funk Shun,
Sun Ra Arkestra,
Gregory Isaacs,
the Swans, the Swans, the Swans, the Swans.
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.