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 Angola and from Lagos.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 The West Coast Pop Art Experimental Band to the dance kids.
I played it at the Hacienda.
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 Alison Limerick. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Flash Fearless 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
New Order,
Girls At Our Best!,
Lyres,
Thee Headcoats,
Röyhkä ja Rättö ja Lehtisalo,
John Lydon,
Donny Hathaway,
Niagra,
Art Ensemble Of Chicago,
KRS-One,
Lalann,
Flash Fearless,
Schoolly D,
Funkadelic,
Steve Hackett,
Sixth Finger,
The Kinks,
Graham Central Station,
Ultramagnetic MC's,
Glenn Branca,
Kas Product,
The Black Dice,
Bush Tetras,
Faust,
The Walker Brothers,
Brothers Johnson,
Second Layer,
Bizarre Inc.,
Silicon Teens,
Radio Birdman,
Zero Boys,
Rotary Connection,
cv313,
James Chance & The Contortions,
The Birthday Party,
Mission of Burma,
The West Coast Pop Art Experimental Band,
These Immortal Souls,
The Blackbyrds,
Ronnie Foster,
Danielle Patucci,
Pussy Galore,
U.S. Maple,
Erykah Badu,
Scientists,
Lou Reed,
Rufus Thomas,
Underground Resistance,
Public Image Ltd.,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Prince Buster,
The Wake,
Goldenarms,
Neu!,
Guru Guru,
Amon Düül II,
Selector Dub Narcotic,
Amon Düül,
Fort Wilson Riot,
Reagan Youth,
Intrusion,
Au Pairs,
X-101, X-101, X-101, X-101.
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.