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 Luxembourg and from Philadelphia.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Manchester 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 snare sounds with much patience.
I was there when Lou Reed 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 Alarm Clocks to the grime 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 John Coltrane. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Harry Pussy,
Bobby Hutcherson,
Michelle Simonal,
Eli Mardock,
The Gladiators,
Mars,
Major Organ And The Adding Machine,
Soulsonic Force,
Crispian St. Peters,
Easy Going,
Thinking Fellers Union Local 282,
Ituana,
Wings,
Minor Threat,
Dorothy Ashby,
The Moleskins,
Stockholm Monsters,
Marcia Griffiths,
Terror Squad Feat. Camron,
Khruangbin,
Isaac Hayes,
David Bowie,
Reuben Wilson,
Dark Day,
Grauzone,
Sticky Fingaz feat. Raekwon,
The Gun Club,
Pussy Galore,
K-Klass,
Fat Boys,
Shoche,
Ken Boothe,
DJ Sneak,
Roxette,
The Count Five,
Yusef Lateef,
The Doors,
Maurizio,
Sight & Sound,
Jeff Mills,
Lou Reed & John Cale,
Tears for Fears,
Malaria!,
Rahsaan Roland Kirk,
X-Ray Spex,
Alton Ellis,
Soul Sonic Force,
Infiniti,
Warren Ellis,
Rod Modell,
In Retrospect,
Funky Four + One,
Unwound,
Scott Walker + Sunn O))),
Grandmaster Flash,
Stiv Bators,
Japan,
Jawbox,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.