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 Madagascar and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1979.
I'm losing my edge.
To all the kids in Paris and Accra.
I'm losing my edge to the art-school Milan 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 spring reverb 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 the Germs to the disco kids.
I played it at CBGB's.
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 Sex Pistols. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Jacques Brel 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Andrew Hill,
Grandmaster Flash and the Furious Five,
Amazonics,
Alison Limerick,
Susan Cadogan,
Avey Tare,
Bootsy Collins,
Subhumans,
Barclay James Harvest,
Kerri Chandler,
The United States of America,
Groovy Waters,
Marvin Gaye,
Marc Romboy vs. Booka Shade,
Davy DMX,
Echospace,
Gang Green,
Charles Mingus,
Quadrant,
Tears for Fears,
Morten Harket,
a-ha,
Derrick May,
Ponytail,
The Velvet Underground,
Pere Ubu,
Ohio Players,
John Holt,
Khruangbin,
The Victims,
Graham Central Station,
Erykah Badu,
Red Lorry Yellow Lorry,
Suburban Knight,
Kaleidoscope,
Radiopuhelimet,
Pet Shop Boys,
Tres Demented,
Matthew Bourne,
Tropical Tobacco,
Rhythm & Sound,
Robert Wyatt,
Dennis Brown,
Bobby Womack,
CMW,
The Music Machine,
Gichy Dan,
Yellowson,
Agitation Free,
The Pop Group,
H. Thieme,
The Peanut Butter Conspiracy,
The Divine Comedy,
The Martian,
Sarah Menescal,
The Slits,
David Axelrod,
June of 44,
The Names,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.