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 Congo and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Columbus and Madrid.
I'm losing my edge to the art-school Mexico City 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 808 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 JFA to the grime kids.
I played it at the Astoria.
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 Susan Cadogan. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Judy Mowatt,
Idris Muhammad,
Be Bop Deluxe,
Sugar Minott,
The Gap Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlback,
Traffic Nightmare,
Gary Puckett & The Union Gap,
the Human League,
E-Dancer,
Avey Tare & Kría Brekkan,
Smog,
DJ Sneak,
These Immortal Souls,
Ajijia Myrayebe,
Ken Boothe,
Freddie Wadling,
Prince Buster,
JFA,
Mad Mike,
Theoretical Girls,
Metal Thangz,
Monks,
DJ Style,
Shoche,
The Offenders,
Big Daddy Kane,
Soft Cell,
Drexciya,
Carl Craig,
Crispian St. Peters,
Albert Ayler,
Jerry's Kids,
Brothers Johnson,
Siglo XX,
John Foxx,
Skriet,
Gian Franco Pienzio,
Ultimate Spinach,
The Move,
Delta 5,
Joe Finger,
The Cosmic Jokers,
10cc,
Mr. Review,
Agent Orange,
Eve St. Jones,
Second Layer,
Deutsch Amerikanische Freundschaft,
Scott Walker + Sunn O))),
Ronan,
Kevin Saunderson,
Bobby Sherman,
Absolute Body Control,
Gil Scott-Heron and Jamie xx,
Amon Düül,
Ornette Coleman,
Warsaw,
The Names,
Bizarre Inc.,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.