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 Zambia and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Accra 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 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 Eve St. Jones to the jazz kids.
I played it at Cafe Wha.
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 Danielle Patucci. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Donald Byrd,
Oppenheimer Analysis,
Soul II Soul,
Zero Boys,
the Human League,
Procol Harum,
Bang on a Can All-Stars,
Terrestrial Tones,
Minnie Riperton,
Connie Case,
The J.B.'s,
Röyhkä ja Rättö ja Lehtisalo,
Sound Behaviour,
Monks,
Black Pus,
KRS-One,
Make Up,
Sun Ra Arkestra,
Derrick May,
Thompson Twins,
Kool Moe Dee,
Lebanon Hanover,
Altered Images,
Echospace,
Soft Machine,
The Litter,
Ice-T,
Q and Not U,
ABBA,
Das Ding,
Avey Tare & Kría Brekkan,
Ludus,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
Fugazi,
Tom Boy,
T. Rex,
Glenn Branca,
Shuggie Otis,
MDC,
Ken Boothe,
Monolake,
Funkadelic,
Sam Rivers,
Delta 5,
Camberwell Now,
The American Breed,
Au Pairs,
Bauhaus,
Franke,
Throbbing Gristle,
This Heat,
Ultravox,
the Slits,
The Alarm Clocks,
Morten Harket,
Desert Stars,
La Düsseldorf,
Crash Course in Science,
James Chance & The Contortions,
Gong,
The Names, The Names, The Names, The Names.
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.