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 Guatemala and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
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 Nile Rodgers 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 The Fugs to the rock kids.
I played it at the Crocodile.
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 Junior Murvin. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
8 Eyed Spy,
the Normal,
X-101,
World's Most,
Avey Tare & Kría Brekkan,
D'Angelo,
Ornette Coleman,
10cc,
Bootsy's Rubber Band,
Isaac Hayes,
Easy Going,
Fifty Foot Hose,
Eve St. Jones,
Tubeway Army,
Rhythim Is Rhythim,
Moby Grape,
Mary Jane Girls,
Sister Nancy,
OOIOO,
Tropical Tobacco,
Niagra,
Fatback Band,
The Doors,
The Music Machine,
Ajijia Myrayebe,
Sight & Sound,
Pylon,
Procol Harum,
Porter Ricks,
Pole,
Make Up,
Marc Romboy vs. Booka Shade,
Bill Wells,
Oneida,
Terry Callier,
E-Dancer,
Barrington Levy,
Lalo Schifrin,
LL Cool J,
Robert Wyatt,
Wolf Eyes,
The Walker Brothers,
Aaron Thompson,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
The Gories,
Aloha Tigers,
Traffic Nightmare,
The Fuzztones,
The Motions,
Max Romeo,
Arthur Verocai,
Cabaret Voltaire,
Bobby Hutcherson,
Smog,
Cymande,
Magma,
Girls At Our Best!,
Pulsallama,
The Blackbyrds,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.