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 Turkmenistan and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Anthony Braxton to the rock kids.
I played it at the 40 Watt.
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 June Days. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Parry Music,
Eyeless In Gaza,
Easy Going,
Flipper,
The Music Machine,
Oppenheimer Analysis,
Leonard Cohen,
Moebius,
Vainqueur,
Fear,
Ornette Coleman,
Gang Starr,
Blake Baxter,
The Dirtbombs,
Cluster,
The New Christs,
Swans,
June Days,
Gastr Del Sol,
R.M.O.,
Steve Hackett,
Unrelated Segments,
Zero Boys,
Thee Headcoats,
Todd Terry,
Drexciya,
Danielle Patucci,
Soft Machine,
Kauko Röyhkä ja Narttu,
The Velvet Underground,
Underground Resistance,
Rhythm & Sound,
It's A Beautiful Day,
London Community Gospel Choir,
The United States of America,
The Misunderstood,
The Divine Comedy,
Cybotron,
Motorama,
Nas,
the Normal,
Man Parrish,
Roy Ayers Ubiquity,
Donny Hathaway,
Joyce Sims,
Byron Stingily,
Yusef Lateef,
Rotary Connection,
Black Flag,
Suburban Knight,
Rufus Thomas,
Johnny Clarke,
The Doors,
Bill Wells,
Blancmange,
Richard Hell and the Voidoids,
EPMD,
David Bowie,
Audionom,
Fort Wilson Riot,
Harmonia,
The Busters, The Busters, The Busters, The Busters.
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.