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 Antigua and from Shanghai.
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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Fania All-Stars to the grime kids.
I played it at the Roxy.
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 Notorious Big And Bone Thugs. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Magazine,
The Pop Group,
Terry Callier,
Make Up,
Skaos,
Reuben Wilson,
Judy Mowatt,
Ponytail,
L. Decosne,
Frankie Knuckles,
Stockholm Monsters,
Fatback Band,
Bobby Womack,
Ludus,
Pole,
John Coltrane,
Yusef Lateef,
CMW,
Flash Fearless,
Soft Machine,
Fort Wilson Riot,
Siglo XX,
Lyres,
Theoretical Girls,
Gong,
Robert Hood,
The Grass Roots,
Beasts of Bourbon,
Cheater Slicks,
Gang Gang Dance,
Andrew Hill,
Janne Schatter,
The Seeds,
Chris & Cosey,
Toni Rubio,
Panda Bear,
Man Parrish,
Royal Trux,
David McCallum,
Thee Headcoats,
the Swans,
Hasil Adkins,
Sticky Fingaz feat. Raekwon,
Nico,
Young Marble Giants,
Country Teasers,
Kerrie Biddell,
Lou Christie,
KRS-One,
The Sisters of Mercy,
The Fall,
Rhythm & Sound,
Gregory Isaacs,
The Index,
Gang Starr,
The Young Rascals,
Sam Rivers,
Black Pus,
Easy Going,
Joensuu 1685,
Sunsets and Hearts,
Excepter,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.