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 Brazil and from Manchester.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Eden Ahbez to the punk 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 LL Cool J. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Con Funk Shun 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Roy Ayers,
Funky Four + One,
Silicon Teens,
Japan,
Zero Boys,
Kas Product,
The Victims,
Lakeside,
Sandy B,
Dr. Dre and Snoop Doggy Dog,
Grey Daturas,
Scratch Acid,
the Swans,
Dawn Penn,
Crash Course in Science,
Agent Orange,
Panda Bear,
Lightning Bolt,
Peter Gordon & Love of Life Orchestra,
Kings Of Tomorrow,
Mantronix,
Dead Boys,
The Tremeloes,
Electric Light Orchestra,
Newcleus,
Adolescents,
Fatback Band,
The Electric Prunes,
The Sound,
The Misunderstood,
Brothers Johnson,
Fear,
The Young Rascals,
Pulsallama,
Anthony Braxton,
Shuggie Otis,
Scion,
Boz Scaggs,
Yusef Lateef,
Minnie Riperton,
Alphaville,
Sight & Sound,
Eric Dolphy,
Gang of Four,
Spandau Ballet,
Wire,
Fifty Foot Hose,
Tom Boy,
Liliput,
Soul Sonic Force,
Matthew Bourne,
The Moody Blues,
Popol Vuh,
Half Japanese,
Fela Kuti,
The Seeds,
Model 500,
Guru Guru,
Visionaries,LMNO, T- Love & Iriscience,
Sunsets and Hearts,
Radio Birdman,
The Velvet Underground,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.