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 Luxembourg and from Lyon.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Absolute Body Control to the disco 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 Hashim. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Ludus,
Jerry's Kids,
The Misunderstood,
Bad Manners,
The Happenings,
Surgeon,
KRS-One,
It's A Beautiful Day,
Frankie Knuckles,
Eli Mardock,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Yellowson,
Crash Course in Science,
Malaria!,
Rekid,
The Alarm Clocks,
Gang Gang Dance,
Tres Demented,
Althea and Donna,
The Dead C,
The Detroit Cobras,
Skaos,
Eurythmics,
Circle Jerks,
Royal Trux,
Nick Fraelich,
Arcadia,
Unwound,
Ten City,
Andrew Hill,
The Selecter,
Nation of Ulysses,
Aloha Tigers,
Accadde A,
Buzzcocks,
Carl Craig,
Gabor Szabo,
Susan Cadogan,
Lou Reed,
Godley & Creme,
Delon & Dalcan,
The Grass Roots,
Bobby Womack,
Hot Snakes,
Boogie Down Productions,
Interpol,
Peter & Gordon,
Rufus Thomas,
Joey Negro,
Matthew Bourne,
Mandrill,
Gastr Del Sol,
Johnny Clarke,
Pagans,
the Bar-Kays,
L. Decosne,
Neil Young,
The Sound,
Ohio Players,
Todd Rundgren,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.