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 Ivory Coast and from Columbus.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Glasgow.
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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Wighnomy Brothers & Robag Wruhme to the electroclash 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 Sandy B. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Strawberry Alarm Clock,
Oppenheimer Analysis,
The Evens,
Marcia Griffiths,
Kayak,
Tropical Tobacco,
Agitation Free,
Barry Ungar,
8 Eyed Spy,
Sonny Sharrock,
Gang Green,
Kas Product,
Q and Not U,
Cluster,
The Flesh Eaters,
The Cowsills,
Vainqueur,
Q65,
Joe Smooth,
The Wake,
DeepChord presents Echospace,
Siglo XX,
Louis and Bebe Barron,
The Victims,
Aural Exciters,
Max Romeo,
Scientists,
Mars,
Negative Approach,
Dead Boys,
Stetsasonic,
Whodini,
Arcadia,
World's Most,
Lalo Schifrin,
Be Bop Deluxe,
Spandau Ballet,
Fifty Foot Hose,
Derrick Morgan,
The Martian,
The Raincoats,
Neil Young,
Index,
It's A Beautiful Day,
Black Pus,
Rufus Thomas,
Cybotron,
The Seeds,
the Association,
Matthew Halsall,
Gabor Szabo,
Juan Atkins,
Carl Craig,
Pharoah Sanders,
The Misunderstood,
Absolute Body Control,
The Names,
Todd Terry,
Kango’s Stein Massive,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.