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 Comoros and from Seoul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Spokane and Manila.
I'm losing my edge to the art-school Mumbai 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Selecter to the dance kids.
I played it at the Troubador.
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 Leonard Cohen. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal rock 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 a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Rhythim Is Rhythim,
Ituana,
The Busters,
Gil Scott Heron,
Jerry's Kids,
Cal Tjader,
Half Japanese,
Sad Lovers and Giants,
Mantronix,
The Residents,
Franke,
The Golliwogs,
Little Man,
The Music Machine,
The New Christs,
The Doobie Brothers,
Ronnie Foster,
Kings Of Tomorrow,
U.S. Maple,
Joey Negro,
Mo-Dettes,
Whodini,
Bad Manners,
Robert Görl,
Byron Stingily,
Gregory Isaacs,
Y Pants,
JFA,
John Lydon,
Thee Headcoats,
ABBA,
H. Thieme,
Excepter,
Piero Umiliani,
Skaos,
F. McDonald,
Marcia Griffiths,
Kayak,
Rakim,
June of 44,
Infiniti,
Yaz,
Kurtis Blow,
The Slackers,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Eyeless In Gaza,
Ultimate Spinach,
Dark Day,
Sparks,
Gang Gang Dance,
Juan Atkins,
Bobbi Humphrey,
The Zeros,
Simply Red,
Public Image Ltd.,
Yusef Lateef,
The Martian,
Freddie Wadling,
Shuggie Otis,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.