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 Chile 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 1968 to 1977.
I'm losing my edge.
To all the kids in Woodstock and London.
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 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 John Lydon to the disco kids.
I played it at the Roxy.
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 Silicon Teens. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a clarinet 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 theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Monks,
Lou Reed & Metallica,
Young Marble Giants,
Eric B and Rakim,
Gil Scott Heron,
Roy Ayers Ubiquity,
Louis and Bebe Barron,
The Martian,
Barclay James Harvest,
Darondo,
Colin Newman,
The Beau Brummels,
Flipper,
Isaac Hayes,
The Jesus and Mary Chain,
Slave,
the Normal,
Subhumans,
La Düsseldorf,
Fela Kuti,
The Music Machine,
Jacques Brel,
Livin' Joy,
Mandrill,
The Cure,
Lucky Dragons,
Yusef Lateef,
Can,
Patti Smith,
Ronan,
Pharaoh Sanders and the Fire Engines,
Susan Cadogan,
Soft Machine,
Amon Düül II,
B.T. Express,
The Angels of Light,
Mr. Review,
Organ,
Intrusion,
Essential Logic,
Nils Olav,
F. McDonald,
The Young Rascals,
Crispian St. Peters,
Selector Dub Narcotic,
Bobby Womack,
Neil Young & Crazy Horse,
Peter & Gordon,
Agitation Free,
Television Personalities,
New York Dolls,
Skarface,
Ossler,
Oppenheimer Analysis,
Idris Muhammad,
Hashim,
Blossom Toes,
Altered Images,
DeepChord presents Echospace,
Dr. Dre and Snoop Doggy Dog,
Robert Görl,
Fatback Band,
Aural Exciters,
Deepchord, Deepchord, Deepchord, Deepchord.
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.