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 Somalia and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Kerrie Biddell to the rap kids.
I played it at the 40 Watt.
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 Joey Negro. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Heavy D & The Boyz,
The Cramps,
Newcleus,
Avey Tare,
Peter and Kerry,
Soul II Soul,
Clear Light,
Basic Channel,
The Residents,
The Shadows of Knight,
Mission of Burma,
Scan 7,
Donny Hathaway,
Swell Maps,
The West Coast Pop Art Experimental Band,
Ronnie Foster,
Lee Hazlewood,
Moss Icon,
Pole,
Be Bop Deluxe,
Country Joe & The Fish,
Yellowson,
UT,
David Axelrod,
Avey Tare & Kría Brekkan,
Lebanon Hanover,
Lalo Schifrin,
Mars,
Marmalade,
Parry Music,
Magazine,
Idris Muhammad,
Jerry's Kids,
The Fall,
MC5,
Thee Headcoats,
Lightning Bolt,
Ponytail,
Kerrie Biddell,
Bad Manners,
The Velvet Underground,
Tropical Tobacco,
Slick Rick,
Soft Machine,
Aswad,
Underground Resistance,
The Star Department,
The Raincoats,
Funkadelic,
Slave,
Quadrant,
Kenny Larkin,
Funky Four + One,
Lower 48,
Arcadia,
Harpers Bizarre,
PIL,
John Coltrane,
Red Lorry Yellow Lorry,
Moby Grape,
Skaos,
Todd Terry,
Pantytec,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.