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 New York.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Jakarta 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 Lou Reed 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 Chocolate Watch Band to the rap 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 Lucky Dragons. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers 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?
Cecil Taylor,
The Flesh Eaters,
Kango’s Stein Massive,
Howard Jones,
The Blues Magoos,
Gang Green,
L. Decosne,
Robert Görl,
Maurizio,
Thee Headcoats,
John Coltrane,
Qualms,
Dennis Brown,
Donald Byrd,
Marc Romboy vs. Booka Shade,
Eric B and Rakim,
The Moody Blues,
Red Lorry Yellow Lorry,
Bill Wells,
Royal Trux,
the Soft Cell,
Sight & Sound,
Vaughan Mason & Crew,
Suburban Knight,
The American Breed,
The J.B.'s,
Kaleidoscope,
Tomorrow,
Brand Nubian,
The Young Rascals,
The Divine Comedy,
The Toasters,
Pantytec,
Crooked Eye,
Underground Resistance,
the Normal,
Rekid,
Justin Hinds & The Dominoes,
Marine Girls,
Ken Boothe,
Camron Feat. Jay Z And Juelz,
Wally Richardson,
Boz Scaggs,
World's Most,
Marc Almond,
Loose Ends,
Ultramagnetic MC's,
Ice-T,
Bootsy's Rubber Band,
Orchestral Manoeuvres in the Dark,
Dr. Dre and Snoop Doggy Dog,
Jawbox,
Moss Icon,
The Residents,
Janne Schatter,
Curtis Mayfield,
Pete Rock & C.L. Smooth,
Pharaoh Sanders and the Fire Engines,
New Order,
Grauzone,
Bobby Hutcherson,
Goldenarms,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.