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 Pakistan and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Manchester.
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 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 Lightning Bolt to the dance kids.
I played it at the Hacienda.
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 Jerry's Kids. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Goldenarms,
Gerry Rafferty,
The Gap Band,
Jesper Dahlbäck,
Lee Hazlewood,
Robert Wyatt,
The Mighty Diamonds,
The Saints,
The Five Americans,
Ronan,
Ohio Players,
The Gories,
Dawn Penn,
Matthew Bourne,
Bobbi Humphrey,
Johnny Osbourne,
Thee Headcoats,
Frankie Knuckles,
Pagans,
It's A Beautiful Day,
Jerry Gold Smith,
Excepter,
Banda Bassotti,
The Knickerbockers,
Ralphi Rosario,
Crooked Eye,
Bizarre Inc.,
Icehouse,
Model 500,
Howard Jones,
Nik Kershaw,
Minutemen,
Can,
Oppenheimer Analysis,
Leonard Cohen,
Rhythim Is Rhythim,
Minnie Riperton,
Aural Exciters,
Popol Vuh,
Kevin Saunderson,
H. Thieme,
the Normal,
The Martian,
Sandy B,
Reagan Youth,
The Seeds,
Lindisfarne,
Zapp,
Louis and Bebe Barron,
The Beau Brummels,
Desert Stars,
The Remains,
Crispy Ambulance,
Monks,
Bauhaus,
Blossom Toes,
Brothers Johnson,
Dorothy Ashby,
Swans, Swans, Swans, Swans.
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.