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 Qatar and from Woodstock.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Accra 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Fluxion to the crunk 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 Groovy Waters. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Swell Maps,
The Remains,
Sparks,
Pole,
Country Joe & The Fish,
Juan Atkins,
Trumans Water,
Max Romeo,
Bootsy Collins,
Bang on a Can All-Stars,
Lightning Bolt,
Inner City,
Rapeman,
Section 25,
Lebanon Hanover,
The West Coast Pop Art Experimental Band,
Scratch Acid,
Fear,
Buzzcocks,
Suicide,
Procol Harum,
the Association,
Agitation Free,
Jimmy McGriff,
Deadbeat,
Tubeway Army,
48th St. Collective,
Avey Tare & Kría Brekkan,
The Fire Engines,
Basic Channel,
Sugar Minott,
David Bowie,
Marmalade,
Eve St. Jones,
Marshall Jefferson,
Joyce Sims,
Eurythmics,
Brass Construction,
Boz Scaggs,
Bang On A Can,
Agent Orange,
The Cosmic Jokers,
The Black Dice,
Super Lover Cee & Casanova Rud,
Pharoah Sanders,
PIL,
T. Rex,
Camron Feat. Memphis Bleek And Beenie Seigel,
Young Marble Giants,
Rotary Connection,
Traffic Nightmare,
Public Enemy,
Yazoo,
Bobby Byrd,
Patti Smith,
The Young Rascals,
Freddie Wadling,
Sister Nancy,
the Germs,
Art Ensemble Of Chicago,
Morten Harket,
Jeru the Damaja,
Pagans,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.