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 Bangladesh and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Houston 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 marimba 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 Peter and Kerry to the dance kids.
I played it at the 40 Watt.
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 Sugar Minott. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Eddi Front 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
K-Klass,
Agitation Free,
Urselle,
Ultramagnetic MC's,
Camouflage,
Warren Ellis,
Marc Romboy vs. Booka Shade,
John Coltrane,
Iggy Pop,
Pharoah Sanders,
The Raincoats,
Q65,
Young Marble Giants,
These Immortal Souls,
The Searchers,
Stetsasonic,
Index,
Sight & Sound,
FM Einheit,
Sly & The Family Stone,
Wighnomy Brothers & Robag Wruhme,
Scott Walker,
Avey Tare's Slasher Flicks,
Lou Reed & John Cale,
Jeff Mills,
Bush Tetras,
Pharaoh Sanders and the Fire Engines,
The Peanut Butter Conspiracy,
Patti Smith,
Hashim,
Masters at Work,
Main Source,
MDC,
Big Daddy Kane,
Sparks,
Bobby Hutcherson,
The Cowsills,
Clear Light,
Terrestrial Tones,
The Happenings,
Make Up,
Deutsch Amerikanische Freundschaft,
Radiohead,
Tres Demented,
Surgeon,
Circle Jerks,
Scan 7,
Sad Lovers and Giants,
Jacob Miller,
Don Cherry,
The Smoke,
Archie Shepp,
The Cure,
Bang On A Can,
Gregory Isaacs,
Arcadia,
Panda Bear,
Scott Walker + Sunn O))),
Notorious Big And Bone Thugs,
Sonny Sharrock,
JFA,
The Vogues, The Vogues, The Vogues, The Vogues.
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.