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 Singapore and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school Toronto 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 theremin 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 Massinfluence to the jazz kids.
I played it at the Spitz.
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 Fatback Band. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
The Walker Brothers,
Das Ding,
Bobby Byrd,
Flash Fearless,
Marc Almond,
Maleditus Sound,
The Gladiators,
Fugazi,
Main Source,
Barbara Tucker,
Terror Squad Feat. Camron,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tom Boy,
Brass Construction,
Bill Wells,
Black Bananas,
Surgeon,
Quantec,
Quando Quango,
Sixth Finger,
Pere Ubu,
Pharoah Sanders,
Thee Headcoats,
Vladislav Delay,
John Cale,
Curtis Mayfield,
The Index,
Camouflage,
Sällskapet,
Malaria!,
Gil Scott-Heron & Brian Jackson,
The Pretty Things,
Thinking Fellers Union Local 282,
Visage,
Wolf Eyes,
Blake Baxter,
Lindisfarne,
Nas,
Bluetip,
The Alarm Clocks,
Rhythim Is Rhythim,
Gang Gang Dance,
World's Most,
Deakin,
The West Coast Pop Art Experimental Band,
Sister Nancy,
Supertramp,
Underground Resistance,
Lou Reed,
Iggy Pop,
Stiv Bators,
Kas Product,
Wings,
Eli Mardock,
Minutemen,
Can,
Con Funk Shun,
Motorama,
The Doors, The Doors, The Doors, The Doors.
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.