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 Iraq and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Paris 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Ultra Naté to the funk 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 The Angels of Light. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Avey Tare's Slasher Flicks,
Sun Ra,
Cecil Taylor,
Excepter,
Barry Ungar,
The Fuzztones,
Quantec,
the Fania All-Stars,
Michelle Simonal,
The Walker Brothers,
Loose Ends,
Susan Cadogan,
John Lydon,
Subhumans,
Wolf Eyes,
Masters at Work,
Oneida,
Aaron Thompson,
Eric Dolphy,
Chris Corsano,
Altered Images,
Ituana,
Oppenheimer Analysis,
Quando Quango,
Pulsallama,
Gang of Four,
Aswad,
Pantytec,
Jandek,
Ajijia Myrayebe,
Zero Boys,
Black Pus,
The Cosmic Jokers,
The Associates,
Con Funk Shun,
Fluxion,
Eddi Front,
The Men They Couldn't Hang,
Sun City Girls,
Jeru the Damaja,
Ten City,
Albert Ayler,
Kurtis Blow,
Bush Tetras,
Justin Hinds & The Dominoes,
The Count Five,
OOIOO,
Malaria!,
Marmalade,
The Velvet Underground,
The Raincoats,
Alton Ellis,
Brothers Johnson,
The Buckinghams,
Lucky Dragons,
Desert Stars,
The Happenings,
Mary Jane Girls,
Bronski Beat,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.