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 Seychelles and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 oboe 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 Sound Behaviour to the rock kids.
I played it at the Astoria.
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 Kool G Rap & DJ Polo. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Black Sheep,
Los Fastidios,
Clear Light,
Whodini,
ABC,
the Soft Cell,
Matthew Bourne,
Bauhaus,
KRS-One,
Amon Düül II,
Arthur Verocai,
Angry Samoans,
Grandmaster Flash and the Furious Five,
Massinfluence,
Bob Dylan,
Ornette Coleman,
Hasil Adkins,
Mo-Dettes,
Shuggie Otis,
Sonny Sharrock,
Shoche,
Roy Ayers Ubiquity,
Cabaret Voltaire,
Jacques Brel,
Archie Shepp,
Main Source,
Throbbing Gristle,
The Peanut Butter Conspiracy,
This Heat,
Gil Scott-Heron and Jamie xx,
8 Eyed Spy,
Half Japanese,
Stetsasonic,
Dorothy Ashby,
The Sound,
Howard Jones,
Bobby Sherman,
Q65,
Sixth Finger,
Crispy Ambulance,
Neil Young,
Robert Hood,
Pere Ubu,
Basic Channel,
Kauko Röyhkä ja Narttu,
The Associates,
Infiniti,
Saccharine Trust,
Dual Sessions,
Scratch Acid,
Liaisons Dangereuses,
Orchestral Manoeuvres in the Dark,
Art Ensemble Of Chicago,
Chris Corsano,
the Fania All-Stars,
Gong,
The Golliwogs,
Sarah Menescal,
Masters at Work,
Ultramagnetic MC's,
Pantaleimon,
Mars, Mars, Mars, Mars.
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.