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 Venezuela and from Woodstock.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Taipei and Lagos.
I'm losing my edge to the art-school Lyon 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 mellotron 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 The Wake 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 Freddie Wadling. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Electric Prunes 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Sarah Menescal,
Oneida,
June Days,
cv313,
Jacob Miller,
Kurtis Blow,
Zapp,
The Fall,
Spandau Ballet,
Grauzone,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Röyhkä ja Rättö ja Lehtisalo,
Audionom,
Mantronix,
Scan 7,
Moebius,
Kauko Röyhkä ja Narttu,
Amon Düül II,
Agent Orange,
Los Fastidios,
Television Personalities,
Vaughan Mason & Crew,
Pussy Galore,
Nirvana,
Rekid,
Tubeway Army,
Pharaoh Sanders and the Fire Engines,
The Vogues,
James Chance & The Contortions,
Icehouse,
Soft Machine,
Rahsaan Roland Kirk,
Aural Exciters,
Curtis Mayfield,
Jacques Brel,
Chris Corsano,
Young Marble Giants,
The Zeros,
8 Eyed Spy,
L. Decosne,
Rod Modell,
The Dirtbombs,
Stereo Dub,
T.S.O.L.,
Gian Franco Pienzio,
The Fire Engines,
Chris & Cosey,
the Normal,
The Busters,
Black Bananas,
Larry & the Blue Notes,
Arthur Verocai,
Eric Copeland,
X-102,
Gichy Dan,
Quando Quango,
The Seeds,
Mandrill,
Jerry Gold Smith,
The Wake,
Vladislav Delay,
De La Soul & Jungle Brothers,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.