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 United Kingdom and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 mellotron 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 The Searchers to the grunge kids.
I played it at CBGB's.
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 Sly & The Family Stone. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every X-102 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 '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Moby Grape,
Marmalade,
Kool G Rap & DJ Polo,
Heaven 17,
Man Parrish,
Black Moon,
Ken Boothe,
Nas,
The Mighty Diamonds,
Ajijia Myrayebe,
Ralphi Rosario,
Jesper Dahlbäck,
Tres Demented,
Niagra,
DeepChord presents Echospace,
Harpers Bizarre,
Kevin Saunderson,
Jawbox,
The Angels of Light,
The West Coast Pop Art Experimental Band,
Morten Harket,
Bizarre Inc.,
X-Ray Spex,
Rites of Spring,
Bill Wells,
Kango’s Stein Massive,
Suburban Knight,
Bob Dylan,
The Chocolate Watch Band,
The Cure,
Amazonics,
Throbbing Gristle,
Skarface,
Mary Jane Girls,
Fear,
The Cramps,
Lebanon Hanover,
Grey Daturas,
Terrestrial Tones,
The Litter,
Eli Mardock,
Rakim,
Howard Jones,
Lonnie Liston Smith,
Barbara Tucker,
Pantaleimon,
Aloha Tigers,
Kayak,
the Fania All-Stars,
Strawberry Alarm Clock,
Inner City,
The Moleskins,
Babytalk,
The Alarm Clocks,
Siglo XX,
Urselle,
Avey Tare's Slasher Flicks,
Lalo Schifrin,
Marine Girls,
Marc Romboy vs. Booka Shade,
Jerry Gold Smith,
Audionom, Audionom, Audionom, Audionom.
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.