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 Swaziland and from Accra.
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 1963 to 1972.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Portland 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 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 Major Organ And The Adding Machine to the funk 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 Mark Hollis. All the underground hits.
All Brick tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Sugar Minott,
Traffic Nightmare,
Sunsets and Hearts,
Albert Ayler,
John Holt,
Flipper,
Arcadia,
Avey Tare & Kría Brekkan,
Section 25,
Ultimate Spinach,
Juan Atkins,
Bobby Hutcherson,
The Count Five,
Man Parrish,
The Fugs,
Don Cherry,
Avey Tare's Slasher Flicks,
AZ,
Minny Pops,
Bauhaus,
Crime,
Quantec,
Rod Modell,
Marvin Gaye,
Adolescents,
Bill Wells,
Tommy Roe,
Cymande,
Heavy D & The Boyz,
Johnny Clarke,
The Royal Family And The Poor,
Robert Wyatt,
Duran Duran,
Orchestral Manoeuvres in the Dark,
The Cowsills,
Monks,
Schoolly D,
Nico,
Avey Tare,
Idris Muhammad,
Banda Bassotti,
The Gun Club,
H. Thieme,
Agitation Free,
Pharoah Sanders,
Harry Pussy,
Sonny Sharrock,
Jeff Mills,
Sam Rivers,
James Chance & The Contortions,
X-101,
Supertramp,
Oneida,
Underground Resistance,
Red Lorry Yellow Lorry,
Gichy Dan,
Grey Daturas,
Susan Cadogan,
Scratch Acid,
Jacques Brel,
David Bowie,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.