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 Madagascar and from Philadelphia.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Copenhagen 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Steve Hackett to the rap kids.
I played it at the Spitz.
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 Barry Ungar. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal jazz 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 Siglo XX record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
U.S. Maple,
The Walker Brothers,
Half Japanese,
Peter and Kerry,
Joy Division,
Archie Shepp,
Country Joe & The Fish,
Au Pairs,
John Lydon,
Royal Trux,
Skriet,
Brass Construction,
CMW,
Hoover,
Symarip,
Andrew Hill,
Matthew Halsall,
Stereo Dub,
48th St. Collective,
Bush Tetras,
Pierre Henry,
cv313,
The Velvet Underground,
Tropical Tobacco,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash and the Furious Five,
Johnny Osbourne,
Barclay James Harvest,
Kool G Rap & DJ Polo,
Heaven 17,
Lalann,
Aloha Tigers,
The Pretty Things,
E-Dancer,
Bang on a Can All-Stars,
LL Cool J,
Amazonics,
Colin Newman,
Judy Mowatt,
Sandy B,
Procol Harum,
Deadbeat,
Von Mondo,
The Fugs,
Scrapy,
Jacques Brel,
Inner City,
Tres Demented,
Black Bananas,
Quadrant,
Angels of Light & Akron/Family,
Cal Tjader,
The Toasters,
Pantytec,
Funky Four + One,
Pet Shop Boys,
Bang On A Can,
Maurizio,
Whodini,
Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron.
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.