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 Colombia and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Lyon 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 organ 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 Lou Reed 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 Glambeats Corp.. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Todd Terry 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 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?
Camberwell Now,
Pylon,
PIL,
The Standells,
Kenny Larkin,
Bad Manners,
Dorothy Ashby,
Eden Ahbez,
Depeche Mode,
Bobbi Humphrey,
FM Einheit,
Hoover,
Bobby Byrd,
Trumans Water,
Radio Birdman,
Toni Rubio,
Dark Day,
Sällskapet,
The Fire Engines,
Siouxsie and the Banshees,
Joe Smooth,
Kaleidoscope,
Deutsch Amerikanische Freundschaft,
Glambeats Corp.,
Fat Boys,
Larry & the Blue Notes,
Sonic Youth,
Gabor Szabo,
Donny Hathaway,
Eddi Front,
Mantronix,
David Axelrod,
Absolute Body Control,
Moby Grape,
Mary Jane Girls,
Spandau Ballet,
Roger Hodgson,
Peter & Gordon,
Lou Reed & Metallica,
The Slits,
Leonard Cohen,
Richard Hell and the Voidoids,
These Immortal Souls,
The Toasters,
Be Bop Deluxe,
The Last Poets,
Crispy Ambulance,
Carl Craig,
Index,
The Neon Judgement,
Freddie Wadling,
Jeff Mills,
Public Enemy,
X-101,
T.S.O.L.,
Cal Tjader,
Jesper Dahlbäck,
Outsiders,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.