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 Indonesia and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Copenhagen and Cairo.
I'm losing my edge to the art-school Mumbai 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 The Chocolate Watch Band to the dance 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 Ronnie Foster. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Girls At Our Best! 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Barrington Levy,
Sight & Sound,
Angry Samoans,
Robert Hood,
This Heat,
The Dave Clark Five,
The Tremeloes,
Vladislav Delay,
Bob Dylan,
Half Japanese,
The Smoke,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Vaughan Mason & Crew,
Lyres,
Arcadia,
Moby Grape,
Black Flag,
Scratch Acid,
the Human League,
New York Dolls,
Visage,
Orchestral Manoeuvres in the Dark,
The Blues Magoos,
Section 25,
Shuggie Otis,
Scion,
Skaos,
Lou Reed & Metallica,
Sister Nancy,
Lakeside,
Juan Atkins,
Pierre Henry,
Sugar Minott,
Scott Walker,
Super Lover Cee & Casanova Rud,
The Alarm Clocks,
Bang on a Can All-Stars,
The Shadows of Knight,
Symarip,
Bobbi Humphrey,
Jacob Miller,
Larry & the Blue Notes,
Bobby Byrd,
MDC,
Barry Ungar,
The Monochrome Set,
Jawbox,
Essential Logic,
Marc Almond,
Fad Gadget,
Harry Pussy,
Kurtis Blow,
Fluxion,
Khruangbin,
The Electric Prunes,
Gang Gang Dance,
Circle Jerks,
Jacques Brel,
Don Cherry,
Be Bop Deluxe,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.