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 Korea South and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 linndrum 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 Lightning Bolt to the techno kids.
I played it at the Hacienda.
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 Sandy B. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every The Monochrome Set 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 '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Patti Smith,
Oneida,
Warsaw,
Tears for Fears,
Hot Snakes,
James White and The Blacks,
The Black Dice,
Drive Like Jehu,
Technova,
Scan 7,
The Cramps,
The Doors,
Jesper Dahlbäck,
Cal Tjader,
Derrick May,
Adolescents,
Wasted Youth,
The J.B.'s,
The Trojans,
DNA,
Donny Hathaway,
Althea and Donna,
The Beau Brummels,
The Cosmic Jokers,
The Fortunes,
Heavy D & The Boyz,
Liliput,
Letta Mbulu,
Mad Mike,
Matthew Halsall,
Michelle Simonal,
DJ Sneak,
Grandmaster Flash,
The Birthday Party,
Make Up,
Icehouse,
The Pop Group,
The Cure,
Don Cherry,
Gang Starr,
Bang on a Can All-Stars,
Sun Ra Arkestra,
Massinfluence,
Magma,
Joe Finger,
Robert Wyatt,
Radio Birdman,
Cecil Taylor,
Graham Central Station,
Sonny Sharrock,
Mantronix,
Gastr Del Sol,
Eric B and Rakim,
John Cale,
James Chance & The Contortions,
Crooked Eye,
Section 25,
Röyhkä ja Rättö ja Lehtisalo,
Ohio Players,
Supertramp,
Soft Cell,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.