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 Ireland and from Woodstock.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Paris and Jakarta.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Lizzy Mercier Descloux to the electroclash kids.
I played it at the Troubador.
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 Symarip. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Pagans,
Super Lover Cee & Casanova Rud,
The Move,
Yusef Lateef,
Gastr Del Sol,
The Mighty Diamonds,
The Real Kids,
Thee Headcoats,
Chris & Cosey,
Lalo Schifrin,
Henry Cow,
Sister Nancy,
Scratch Acid,
Talk Talk,
The Jesus and Mary Chain,
Robert Hood,
Eric Dolphy,
Drexciya,
Warren Ellis,
Red Lorry Yellow Lorry,
The Selecter,
DNA,
The Busters,
The Zeros,
Teenage Jesus and the Jerks,
The Monochrome Set,
Gil Scott-Heron & Brian Jackson,
Unrelated Segments,
Scientists,
The Techniques,
The Invisible,
Swell Maps,
Man Parrish,
Brick,
Oblivians,
Gil Scott Heron,
Severed Heads,
L. Decosne,
Masters at Work,
James Chance & The Contortions,
Donny Hathaway,
Boogie Down Productions,
Marmalade,
Jawbox,
Intrusion,
Big Daddy Kane,
E-Dancer,
Max Romeo,
Richard Hell and the Voidoids,
Bronski Beat,
Lafayette Afro Rock Band,
X-Ray Spex,
Panda Bear,
Mr. Review,
Ice-T,
Fear,
Chrome,
Sonny Sharrock,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.