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 Brazil and from Mexico City.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Copenhagen 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 marimba 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 Bill Wells to the punk kids.
I played it at Cafe Wha.
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 Swans. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks 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?
The Fuzztones,
Country Joe & The Fish,
This Heat,
Selector Dub Narcotic,
Soul II Soul,
Warsaw,
Robert Wyatt,
Rufus Thomas,
Roy Ayers,
Nation of Ulysses,
Lebanon Hanover,
Big Daddy Kane,
Rosa Yemen,
Average White Band,
Brick,
Althea and Donna,
Notorious Big And Bone Thugs,
Eurythmics,
Marc Romboy vs. Booka Shade,
Wolf Eyes,
Black Pus,
Barrington Levy,
Gichy Dan,
Peter & Gordon,
Excepter,
The Star Department,
Sound Behaviour,
Barry Ungar,
MDC,
Anthony Braxton,
James Chance & The Contortions,
Electric Prunes,
The Pretty Things,
Half Japanese,
The New Christs,
Prince Buster,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Susan Cadogan,
Roger Hodgson,
Faraquet,
Bob Dylan,
Rowland S Howard / Lydia Lunch,
Flamin' Groovies,
Boz Scaggs,
Dorothy Ashby,
Thinking Fellers Union Local 282,
The Walker Brothers,
Lou Reed,
Khruangbin,
Roy Ayers Ubiquity,
Bobbi Humphrey,
Lou Reed & Metallica,
Ornette Coleman,
Moss Icon,
Blossom Toes,
The Young Rascals,
Fugazi,
Fort Wilson Riot,
Vainqueur,
Ultravox,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.