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 Saudi Arabia and from Madrid.
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 1973.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Bremen 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Marcia Griffiths to the dance kids.
I played it at the Crocodile.
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 Amon Düül. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Spoonie Gee 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Tommy Roe,
Joensuu 1685,
U.S. Maple,
Aloha Tigers,
K-Klass,
Blossom Toes,
The Standells,
The Slackers,
Louis and Bebe Barron,
Das Ding,
The Chocolate Watch Band,
D'Angelo,
Tres Demented,
Super Lover Cee & Casanova Rud,
Kauko Röyhkä ja Narttu,
Cecil Taylor,
Anthony Braxton,
Bob Dylan,
The Fall,
Rowland S Howard / Lydia Lunch,
Subhumans,
Nico,
Roy Ayers Ubiquity,
Animal Collective,
The Sound,
X-102,
Eric Dolphy,
Motorama,
Boredoms,
X-Ray Spex,
Stetsasonic,
Albert Ayler,
The Durutti Column,
T. Rex,
Marcia Griffiths,
Scratch Acid,
Depeche Mode,
Cabaret Voltaire,
The Pop Group,
Roxette,
Surgeon,
Mo-Dettes,
Deakin,
Wighnomy Brothers & Robag Wruhme,
John Holt,
Eurythmics,
The Electric Prunes,
F. McDonald,
Minor Threat,
La Düsseldorf,
Monks,
Black Flag,
Scott Walker + Sunn O))),
Marvin Gaye,
Blancmange,
Roger Hodgson,
Rahsaan Roland Kirk,
Kings Of Tomorrow,
Wolf Eyes,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.