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 Guatemala and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Houston 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 clarinet 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 Hashim to the grunge kids.
I played it at the Crocodile.
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 Electric Prunes. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Rosa Yemen 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Soft Machine,
Lou Reed,
Half Japanese,
Neu!,
Unwound,
Heaven 17,
The Remains,
The Alarm Clocks,
Reuben Wilson,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Gastr Del Sol,
Supertramp,
Porter Ricks,
Connie Case,
Eli Mardock,
The Gap Band,
The Cramps,
Lightning Bolt,
Robert Görl,
Sight & Sound,
Visage,
JFA,
8 Eyed Spy,
Camron Feat. Jay Z And Juelz,
The Residents,
Laurel Aitken,
Electric Prunes,
Avey Tare,
James Chance & The Contortions,
Clear Light,
Amon Düül II,
Jeru the Damaja,
Morten Harket,
Sugar Minott,
Lalann,
It's A Beautiful Day,
E-Dancer,
Janne Schatter,
Louis and Bebe Barron,
Gil Scott-Heron and Jamie xx,
Magazine,
Sister Nancy,
Quadrant,
Bootsy Collins,
L. Decosne,
Nico,
The Mojo Men,
Camouflage,
Leonard Cohen,
Marvin Gaye,
Main Source,
Cybotron,
Bang On A Can,
Sunsets and Hearts,
Black Sheep,
Aswad,
Thee Headcoats,
Ash Ra Tempel,
Be Bop Deluxe,
Throbbing Gristle,
The Fall, The Fall, The Fall, The Fall.
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.