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 Saudi Arabia 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 1966 to 1971.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Roy Ayers to the rap kids.
I played it at CBGB's.
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 Nirvana. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Notorious Big And Bone Thugs,
Quadrant,
John Cale,
Soul Sonic Force,
Jandek,
Mary Jane Girls,
Fort Wilson Riot,
Mars,
D'Angelo,
Jesper Dahlbäck,
Faust,
Vladislav Delay,
Infiniti,
Lou Reed & John Cale,
Amon Düül,
Kango’s Stein Massive,
Lafayette Afro Rock Band,
Kas Product,
The Standells,
John Lydon,
Suburban Knight,
Gong,
Pantytec,
Faraquet,
The Gories,
The Star Department,
Avey Tare,
Cabaret Voltaire,
Bobby Byrd,
Desert Stars,
The Victims,
The New Christs,
The West Coast Pop Art Experimental Band,
Reuben Wilson,
Kevin Saunderson,
Wasted Youth,
Blancmange,
The Last Poets,
The Toasters,
Panda Bear,
Art Ensemble Of Chicago,
John Holt,
Swans,
Sunsets and Hearts,
Mad Mike,
Kerrie Biddell,
B.T. Express,
Theoretical Girls,
the Normal,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Anthony Braxton,
The Associates,
Dave Gahan,
Nation of Ulysses,
Cluster,
Terry Callier,
Minnie Riperton,
Bill Wells,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.