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 Uganda and from Columbus.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Houston.
I'm losing my edge to the art-school Taipei 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 Nile Rodgers 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 Section 25 to the grunge kids.
I played it at the Roxy.
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 Lindisfarne. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Vainqueur,
Minor Threat,
Sun Ra Arkestra,
Unwound,
Pharoah Sanders,
John Holt,
Manfred Mann's Earth Band,
Art Ensemble Of Chicago,
Porter Ricks,
Blancmange,
Desert Stars,
Vaughan Mason & Crew,
Hoover,
Rites of Spring,
Erasure,
It's A Beautiful Day,
Pierre Henry,
Bobby Hutcherson,
The Velvet Underground,
Traffic Nightmare,
Amon Düül II,
Larry & the Blue Notes,
The Invisible,
Boz Scaggs,
Danielle Patucci,
Aswad,
The Vogues,
Selector Dub Narcotic,
Soulsonic Force,
Kenny Larkin,
Whodini,
Derrick May,
Al Stewart,
Colin Newman,
The Standells,
The Peanut Butter Conspiracy,
Fugazi,
Cluster,
Crispian St. Peters,
The Dave Clark Five,
The Kinks,
The Dirtbombs,
The Fortunes,
Trumans Water,
The Alarm Clocks,
Spandau Ballet,
Ralphi Rosario,
Pharaoh Sanders and the Fire Engines,
Curtis Mayfield,
DeepChord presents Echospace,
Warsaw,
Angry Samoans,
Tubeway Army,
Judy Mowatt,
Jeru the Damaja,
Mo-Dettes,
Cal Tjader,
D'Angelo,
Grey Daturas,
the Normal,
the Germs,
Marcia Griffiths,
Jesper Dahlback,
DJ Style, DJ Style, DJ Style, DJ Style.
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.