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 Paraguay and from Columbus.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Salvador 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 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 Fugazi to the rap 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 Barrington Levy. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro 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 harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Cabaret Voltaire,
Schoolly D,
Gian Franco Pienzio,
Erykah Badu,
John Foxx,
Boogie Down Productions,
Avey Tare,
The Five Americans,
Eric B and Rakim,
The Star Department,
Gil Scott-Heron & Brian Jackson,
The Black Dice,
Heavy D & The Boyz,
Josef K,
The Fuzztones,
The Invisible,
Gong,
Yusef Lateef,
Thompson Twins,
Terry Callier,
The Fugs,
The Moleskins,
Youth Brigade,
Stetsasonic,
AZ,
Audionom,
Excepter,
Yellowson,
The Gories,
Rites of Spring,
Anakelly,
the Association,
Bush Tetras,
Pagans,
The Buckinghams,
Parry Music,
The Happenings,
Bill Wells,
Captain Beefheart & His Magic Band,
Sandy B,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Barry Ungar,
The Tremeloes,
Tubeway Army,
Shoche,
Nation of Ulysses,
Vladislav Delay,
Sound Behaviour,
Khruangbin,
Vaughan Mason & Crew,
Alton Ellis,
The Seeds,
Ken Boothe,
Kauko Röyhkä ja Narttu,
Janne Schatter,
Tim Buckley,
Y Pants,
The Golliwogs,
Liaisons Dangereuses,
The Monochrome Set,
Michelle Simonal,
Archie Shepp,
The Divine Comedy,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.