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 Morocco and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Calgary 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Sällskapet to the jazz 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 K-Klass. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
The Index,
Agent Orange,
Chrome,
the Fania All-Stars,
Mary Jane Girls,
Grandmaster Flash and the Furious Five,
Infiniti,
Lee Hazlewood,
The Slits,
Royal Trux,
The Human League,
De La Soul & Jungle Brothers,
The Smoke,
The Names,
Leonard Cohen,
Sparks,
Max Romeo,
Severed Heads,
Agitation Free,
Eden Ahbez,
Crispian St. Peters,
Stiv Bators,
Gang of Four,
Gil Scott-Heron and Jamie xx,
Au Pairs,
Flipper,
Cluster,
Fluxion,
Rekid,
The Cramps,
Sister Nancy,
Dorothy Ashby,
Jesper Dahlbäck,
UT,
Judy Mowatt,
Roger Hodgson,
Minny Pops,
Nick Fraelich,
the Bar-Kays,
Marvin Gaye,
The Alarm Clocks,
Half Japanese,
Ultramagnetic MC's,
Wighnomy Brothers & Robag Wruhme,
Erasure,
Brothers Johnson,
Stockholm Monsters,
The Shadows of Knight,
Erykah Badu,
Amon Düül,
The Cowsills,
Fear,
Siouxsie and the Banshees,
Black Flag,
The Red Krayola,
Lightning Bolt,
Sticky Fingaz feat. Raekwon,
Kings Of Tomorrow,
Ken Boothe,
Newcleus,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.