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 Tanzania and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Angry Samoans to the rock kids.
I played it at CBGB's.
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 Stiv Bators. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
Blake Baxter,
KRS-One,
Section 25,
Visage,
Thee Headcoats,
Bauhaus,
Kool G Rap & DJ Polo,
Lower 48,
Whodini,
E-Dancer,
Harry Pussy,
Red Lorry Yellow Lorry,
The Zeros,
The Grass Roots,
Los Fastidios,
Arcadia,
Rod Modell,
Traffic Nightmare,
Pharaoh Sanders and the Fire Engines,
Lindisfarne,
China Crisis,
Schoolly D,
Echospace,
Isaac Hayes,
Negative Approach,
Rapeman,
Colin Newman,
Neil Young & Crazy Horse,
Jeff Lynne,
Flash Fearless,
Danielle Patucci,
Lou Christie,
Deepchord,
Roy Ayers Ubiquity,
Bob Dylan,
Ultravox,
The Chocolate Watch Band,
Barbara Tucker,
The Stooges,
Tim Buckley,
The Gladiators,
PIL,
D'Angelo,
The Barracudas,
Vaughan Mason & Crew,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
Thompson Twins,
Roy Ayers,
Skaos,
Rowland S Howard / Lydia Lunch,
Arab on Radar,
Joe Finger,
The Index,
Porter Ricks,
Avey Tare,
The Moody Blues,
Cymande,
Bronski Beat,
the Fania All-Stars,
Alton Ellis,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.