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 Kazakhstan and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Milan 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 Robert Palmer 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 Guru Guru to the grunge kids.
I played it at Cafe Wha.
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 D'Angelo. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Boogie Down Productions,
Monolake,
Panda Bear,
Sonny Sharrock,
The Techniques,
Mark Hollis,
Eric Copeland,
Talk Talk,
The Associates,
DeepChord presents Echospace,
John Holt,
The Black Dice,
Nirvana,
Lower 48,
The Monks,
Gong,
Peter and Kerry,
Jeff Lynne,
Hot Snakes,
Rhythim Is Rhythim,
Glambeats Corp.,
Robert Hood,
The Stooges,
X-102,
Minny Pops,
Matthew Bourne,
Frankie Knuckles,
Angry Samoans,
Icehouse,
The Fortunes,
Bush Tetras,
JFA,
Electric Light Orchestra,
Joe Smooth,
K-Klass,
Guru Guru,
B.T. Express,
Babytalk,
Black Moon,
Shuggie Otis,
The Fire Engines,
A Certain Ratio,
Rotary Connection,
Hoover,
Pete Rock & C.L. Smooth,
The Mummies,
Lizzy Mercier Descloux,
Reuben Wilson,
Brick,
Crime,
Shoche,
DJ Style,
The Flesh Eaters,
Avey Tare & Kría Brekkan,
Cybotron,
Amazonics,
Nation of Ulysses,
UT,
Bill Near,
Jawbox, Jawbox, Jawbox, Jawbox.
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.