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 Thailand and from Calgary.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Shanghai 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 sitar 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 Donny Hathaway to the dance 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 Matthew Bourne. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Leonard Cohen 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Eyeless In Gaza,
Pagans,
Rhythm & Sound,
Black Flag,
Angry Samoans,
The Martian,
Nik Kershaw,
Jacob Miller,
The Music Machine,
This Heat,
The Gun Club,
Kool Moe Dee,
Smog,
Circle Jerks,
Liaisons Dangereuses,
The Motions,
Liliput,
The Peanut Butter Conspiracy,
Porter Ricks,
Kerrie Biddell,
Ludus,
B.T. Express,
Curtis Mayfield,
The Selecter,
Parry Music,
Gang Starr,
Animal Collective,
Ituana,
Andrew Ashong & Theo Parrish,
Marine Girls,
Art Ensemble Of Chicago,
The Men They Couldn't Hang,
Sound Behaviour,
The Young Rascals,
Ronnie Foster,
Brothers Johnson,
PIL,
cv313,
Oppenheimer Analysis,
Black Moon,
Depeche Mode,
Hasil Adkins,
Frankie Knuckles,
Eurythmics,
Graham Central Station,
Qualms,
Janne Schatter,
Model 500,
The Mighty Diamonds,
Kas Product,
Lightning Bolt,
Pylon,
Iggy Pop,
Essential Logic,
Albert Ayler,
Barry Ungar,
Eli Mardock,
The Fugs,
Zero Boys,
Silicon Teens,
Deepchord,
The Mummies, The Mummies, The Mummies, The Mummies.
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.