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 India and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Copenhagen and Cairo.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Bobby Womack to the jazz kids.
I played it at the Hacienda.
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 Glambeats Corp.. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Sarah Menescal,
X-101,
Buzzcocks,
Robert Hood,
Make Up,
Cybotron,
The Mighty Diamonds,
London Community Gospel Choir,
KRS-One,
Duran Duran,
Panda Bear,
Angels of Light & Akron/Family,
Swell Maps,
Faust,
Ralphi Rosario,
The Real Kids,
Lou Reed & John Cale,
Slick Rick,
Sixth Finger,
Trumans Water,
Kas Product,
Sight & Sound,
Warsaw,
Rotary Connection,
48th St. Collective,
Jacques Brel,
Avey Tare & Kría Brekkan,
Porter Ricks,
Peter Gordon & Love of Life Orchestra,
Eurythmics,
Ronan,
Deutsch Amerikanische Freundschaft,
Yaz,
Adolescents,
the Fania All-Stars,
X-102,
Pharoah Sanders,
Röyhkä ja Rättö ja Lehtisalo,
Dual Sessions,
Vladislav Delay,
Clear Light,
Cluster,
These Immortal Souls,
Motorama,
Matthew Halsall,
Joensuu 1685,
Graham Central Station,
Niagra,
the Bar-Kays,
the Association,
Ultimate Spinach,
B.T. Express,
Chris & Cosey,
James Chance & The Contortions,
Scott Walker + Sunn O))),
Major Organ And The Adding Machine,
Nation of Ulysses,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.