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 Namibia and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Cairo and Madrid.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Young Marble Giants to the techno kids.
I played it at Trash.
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 Black Sheep. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Sam Rivers,
Kool G Rap & DJ Polo,
The Litter,
Lou Reed & John Cale,
Wolf Eyes,
Idris Muhammad,
Frankie Knuckles,
Pulsallama,
Crime,
New York Dolls,
The Raincoats,
Kaleidoscope,
Pharaoh Sanders and the Fire Engines,
Bang on a Can All-Stars,
Parry Music,
The Five Americans,
The Slackers,
The Kinks,
China Crisis,
Bootsy Collins,
Suicide,
Barbara Tucker,
JFA,
June of 44,
Heaven 17,
Nik Kershaw,
Bill Wells,
The Gladiators,
Matthew Halsall,
The Pop Group,
Kurtis Blow,
Little Man,
Gichy Dan,
Lou Christie,
Prince Buster,
Connie Case,
Arthur Verocai,
Sly & The Family Stone,
Cheater Slicks,
Electric Light Orchestra,
Masters at Work,
Lightning Bolt,
Nils Olav,
Kevin Saunderson,
Hashim,
The United States of America,
Easy Going,
Funkadelic,
Main Source,
Quadrant,
Radiopuhelimet,
Basic Channel,
Sister Nancy,
Terrestrial Tones,
Excepter,
Newcleus,
The Slits,
Index,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.