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 Benin and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Manchester 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Brick to the crunk kids.
I played it at the Crocodile.
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 Tubeway Army. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Scratch Acid,
Graham Central Station,
The Associates,
Wally Richardson,
Ralphi Rosario,
Arab on Radar,
The Gap Band,
The Divine Comedy,
The Black Dice,
Stetsasonic,
Lyres,
The Stooges,
Freddie Wadling,
Grandmaster Flash,
Interpol,
Pantytec,
Theoretical Girls,
Unrelated Segments,
Basic Channel,
Sun Ra,
The Five Americans,
Mr. Review,
Minny Pops,
Rekid,
The American Breed,
Robert Wyatt,
Mad Mike,
Piero Umiliani,
Hot Snakes,
Ronan,
Rhythm & Sound,
Max Romeo,
Johnny Clarke,
Althea and Donna,
Angry Samoans,
Flash Fearless,
Suburban Knight,
R.M.O.,
The Offenders,
Michelle Simonal,
Model 500,
LL Cool J,
The Moody Blues,
Rhythim Is Rhythim,
EPMD,
D'Angelo,
Unwound,
Mantronix,
Wings,
Crime,
Maleditus Sound,
The Slackers,
The Young Rascals,
Sister Nancy,
Nirvana,
Mars,
Cybotron,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.