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 Liechtenstein and from Salvador.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Tokyo.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Animal Collective to the grunge 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 Sam Rivers. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Letta Mbulu,
Idris Muhammad,
the Fania All-Stars,
Yazoo,
Strawberry Alarm Clock,
EPMD,
Y Pants,
Bizarre Inc.,
New Age Steppers,
Nirvana,
The Star Department,
Robert Hood,
The Litter,
Supertramp,
Sarah Menescal,
The Mummies,
Siglo XX,
Malaria!,
D'Angelo,
The Mighty Diamonds,
Rapeman,
Inner City,
Lizzy Mercier Descloux,
The Modern Lovers,
Trumans Water,
The J.B.'s,
Popol Vuh,
Freddie Wadling,
Easy Going,
Susan Cadogan,
Girls At Our Best!,
Negative Approach,
Quantec,
Half Japanese,
Scrapy,
Skriet,
Sexual Harrassment,
Bang on a Can All-Stars,
Althea and Donna,
R.M.O.,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gang Gang Dance,
Lou Christie,
Moby Grape,
Buzzcocks,
Heavy D & The Boyz,
the Slits,
The Misunderstood,
Rhythm & Sound,
Moebius,
Barbara Tucker,
Bill Near,
The Skatalites,
Television,
The Music Machine,
Niagra,
Sound Behaviour,
Flash Fearless,
Absolute Body Control,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.