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 Suriname and from Seoul.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Andrew Hill to the electroclash 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 Byron Stingily. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Dead C 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin 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 arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Altered Images,
Joe Smooth,
Eddi Front,
Gong,
John Coltrane,
Khruangbin,
Sad Lovers and Giants,
the Germs,
Louis and Bebe Barron,
David Axelrod,
10cc,
Second Layer,
The Cowsills,
Mandrill,
Peter & Gordon,
Graham Central Station,
Eden Ahbez,
Nirvana,
Pagans,
Frankie Knuckles,
The Trojans,
In Retrospect,
Idris Muhammad,
Masters at Work,
Von Mondo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Silicon Teens,
Half Japanese,
Lightning Bolt,
Monolake,
Radio Birdman,
Wire,
Jesper Dahlback,
Grandmaster Flash and the Furious Five,
Technova,
Angry Samoans,
The Smoke,
Prince Buster,
Arthur Verocai,
Yazoo,
Funky Four + One,
Motorama,
Matthew Bourne,
Magazine,
The Pop Group,
Kevin Saunderson,
Delta 5,
Kayak,
Max Romeo,
Dave Gahan,
The Mummies,
Leonard Cohen,
The Count Five,
Kings Of Tomorrow,
Saccharine Trust,
Dorothy Ashby,
Eurythmics,
Letta Mbulu,
Procol Harum,
Pantytec,
Moby Grape,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.