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 Malaysia and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Alice Coltrane to the crunk 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 Brothers Johnson. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Supertramp 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Todd Rundgren,
MC5,
The Leaves,
Lower 48,
Tom Boy,
Eden Ahbez,
Subhumans,
Andrew Ashong & Theo Parrish,
Dawn Penn,
The Litter,
Fifty Foot Hose,
Strawberry Alarm Clock,
Popol Vuh,
Ronnie Foster,
Joe Finger,
Graham Central Station,
Pierre Henry,
Soft Machine,
Dorothy Ashby,
Nirvana,
Marmalade,
The Modern Lovers,
Crispian St. Peters,
Simply Red,
Flamin' Groovies,
Nas,
Tomorrow,
Dennis Brown,
The Chocolate Watch Band,
Reuben Wilson,
Nation of Ulysses,
Colin Newman,
Pete Rock & C.L. Smooth,
The Grass Roots,
Can,
Moebius,
Circle Jerks,
Make Up,
Ash Ra Tempel,
Public Image Ltd.,
The Mighty Diamonds,
Sällskapet,
Man Eating Sloth,
ABBA,
These Immortal Souls,
Massinfluence,
The Smoke,
Sparks,
Notorious BIG live in Amsterdam,
Röyhkä ja Rättö ja Lehtisalo,
Liliput,
The Saints,
Pet Shop Boys,
Hardrive,
Pagans,
Charles Mingus,
Liaisons Dangereuses,
Eddi Front,
Jerry's Kids,
DJ Sneak,
The Moleskins,
Lafayette Afro Rock Band,
The Wake, The Wake, The Wake, The Wake.
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.