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 Morocco and from Lyon.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Cairo 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Soft Cell to the jazz kids.
I played it at Trash.
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 Groovy Waters. All the underground hits.
All Smog tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Johnny Osbourne,
Skaos,
Mary Jane Girls,
The Five Americans,
Loose Ends,
Gregory Isaacs,
48th St. Collective,
Sonny Sharrock,
The Durutti Column,
Colin Newman,
Arab on Radar,
The Martian,
The Fortunes,
Roxy Music,
Gary Puckett & The Union Gap,
Boredoms,
Stockholm Monsters,
Iggy Pop,
Ornette Coleman,
The Gories,
Absolute Body Control,
Lakeside,
Eurythmics,
Red Lorry Yellow Lorry,
Brass Construction,
Fifty Foot Hose,
Gerry Rafferty,
Joy Division,
Zapp,
Surgeon,
Alice Coltrane,
The Leaves,
Pete Rock & C.L. Smooth,
Lalo Schifrin,
Freddie Wadling,
Crash Course in Science,
Joe Finger,
Max Romeo,
Liliput,
Lizzy Mercier Descloux,
Television Personalities,
Rotary Connection,
The Dead C,
Country Joe & The Fish,
The Wake,
Toni Rubio,
Big Daddy Kane,
Traffic Nightmare,
Eddi Front,
Albert Ayler,
Richard Hell and the Voidoids,
The Moleskins,
cv313,
Jandek,
Rakim,
Johnny Clarke,
The Busters,
The Raincoats,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.