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 Guyana and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Philadelphia 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Toni Rubio to the jazz 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 X-Ray Spex. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
The Moody Blues,
Lee Hazlewood,
Peter Gordon & Love of Life Orchestra,
Donald Byrd,
Scratch Acid,
Bobby Womack,
Liliput,
Bluetip,
Radiohead,
Nik Kershaw,
Laurel Aitken,
Sex Pistols,
June Days,
The Five Americans,
Fugazi,
Magma,
Flipper,
Idris Muhammad,
Joe Finger,
Jawbox,
Johnny Clarke,
Hashim,
Sonic Youth,
Orchestral Manoeuvres in the Dark,
Radio Birdman,
AZ,
Moss Icon,
Pylon,
Juan Atkins,
Mad Mike,
Easy Going,
Massinfluence,
Matthew Halsall,
The Misunderstood,
Bootsy Collins,
Sticky Fingaz feat. Raekwon,
D'Angelo,
Lebanon Hanover,
John Holt,
Vaughan Mason & Crew,
Nils Olav,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soul II Soul,
The United States of America,
Lightning Bolt,
Accadde A,
Pete Rock & C.L. Smooth,
Au Pairs,
Circle Jerks,
Skarface,
Kerri Chandler,
Rhythm & Sound,
Stetsasonic,
Lindisfarne,
Selector Dub Narcotic,
Delta 5,
The J.B.'s,
The Sound,
Joyce Sims,
Vainqueur,
A Certain Ratio,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.