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 Papua New Guinea and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
I'm losing my edge to the art-school Salvador 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 mellotron sounds with much patience.
I was there when David Bowie 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 Man Parrish to the jazz 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 Interpol. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Thompson Twins,
Desert Stars,
China Crisis,
The Barracudas,
Black Flag,
Althea and Donna,
Dead Boys,
Audionom,
Gang Gang Dance,
Crooked Eye,
Agitation Free,
Darondo,
Country Teasers,
Cabaret Voltaire,
the Normal,
The Trojans,
Porter Ricks,
The Monks,
Suburban Knight,
Crime,
Peter and Kerry,
Siglo XX,
The Moody Blues,
Marvin Gaye,
Bobbi Humphrey,
Youth Brigade,
Lyres,
Derrick Morgan,
Alison Limerick,
Ponytail,
Reagan Youth,
Bobby Byrd,
Sun Ra Arkestra,
Peter Gordon & Love of Life Orchestra,
Marshall Jefferson,
Visionaries,LMNO, T- Love & Iriscience,
Icehouse,
Lalo Schifrin,
Marc Almond,
Grauzone,
Urselle,
Moby Grape,
The Gun Club,
Lindisfarne,
Rahsaan Roland Kirk,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jawbox,
Max Romeo,
Orchestral Manoeuvres in the Dark,
Harpers Bizarre,
The Last Poets,
Junior Murvin,
Boogie Down Productions,
Fatback Band,
Red Lorry Yellow Lorry,
The Names,
Bang on a Can All-Stars,
Sister Nancy,
Ituana,
The Mojo Men,
Barrington Levy,
PIL, PIL, PIL, PIL.
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.