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 Belize and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Columbus 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 Donald Fagen 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 Anakelly to the grunge kids.
I played it at the Spitz.
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 Gian Franco Pienzio. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Liliput 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 '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Captain Beefheart & His Magic Band,
Crash Course in Science,
the Bar-Kays,
The Human League,
Deadbeat,
The Martian,
Angry Samoans,
The Gladiators,
Thompson Twins,
Henry Cow,
Siglo XX,
Rosa Yemen,
Section 25,
Saccharine Trust,
Soft Cell,
Agitation Free,
Lonnie Liston Smith,
Richard Hell and the Voidoids,
Von Mondo,
Interpol,
the Association,
Porter Ricks,
Fear,
Todd Rundgren,
Rakim,
Fluxion,
Joensuu 1685,
The Dead C,
London Community Gospel Choir,
The Walker Brothers,
Avey Tare's Slasher Flicks,
The Music Machine,
John Coltrane,
Terror Squad Feat. Camron,
Mr. Review,
Dr. Dre and Snoop Doggy Dog,
Stiv Bators,
Main Source,
Davy DMX,
The United States of America,
Bill Wells,
Eyeless In Gaza,
Joe Smooth,
the Human League,
Khruangbin,
Pylon,
Sight & Sound,
Robert Hood,
Tubeway Army,
Joy Division,
June of 44,
Manfred Mann's Earth Band,
Shoche,
Icehouse,
The Kinks,
Spoonie Gee,
Bobby Hutcherson,
Sugar Minott,
Tommy Roe,
The Mighty Diamonds,
Nas, Nas, Nas, Nas.
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.