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 Cambodia and from Houston.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Niagra to the funk 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 Stiv Bators. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mission of Burma record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
New Age Steppers,
Gil Scott Heron,
The Alarm Clocks,
Eric B and Rakim,
Sun Ra Arkestra,
Mandrill,
Easy Going,
Thee Headcoats,
In Retrospect,
Clear Light,
Monks,
Pharoah Sanders,
Mark Hollis,
Orchestral Manoeuvres in the Dark,
A Flock of Seagulls,
Visage,
Peter & Gordon,
Robert Hood,
the Bar-Kays,
The Zeros,
Symarip,
Rhythm & Sound,
MDC,
Drexciya,
X-101,
Johnny Osbourne,
The Beau Brummels,
The Gun Club,
Make Up,
Lalo Schifrin,
Funkadelic,
The Fortunes,
a-ha,
Traffic Nightmare,
Grey Daturas,
Glambeats Corp.,
Fatback Band,
Larry & the Blue Notes,
Harpers Bizarre,
Alton Ellis,
Alison Limerick,
The Offenders,
Nico,
Fad Gadget,
Babytalk,
Byron Stingily,
The Martian,
Reuben Wilson,
kango's stein massive,
Andrew Hill,
Kerri Chandler,
Country Joe & The Fish,
Excepter,
Lou Reed & John Cale,
Porter Ricks,
Jesper Dahlbäck,
Jerry Gold Smith,
Skaos,
Fugazi,
The Victims,
The Smiths,
Black Sheep,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.