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 Turkmenistan and from Spokane.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Bologna 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Wire to the punk 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 B.T. Express. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Basic Channel,
The Chocolate Watch Band,
Pylon,
Hoover,
Man Eating Sloth,
Ponytail,
Mark Hollis,
Aloha Tigers,
The Fall,
Rapeman,
Ituana,
Japan,
Hashim,
Gil Scott Heron,
Curtis Mayfield,
The Leaves,
Gary Puckett & The Union Gap,
Carl Craig,
Grauzone,
Black Sheep,
The Beau Brummels,
Duran Duran,
London Community Gospel Choir,
MDC,
Interpol,
Lalo Schifrin,
Easy Going,
Albert Ayler,
Neu!,
Lucky Dragons,
Yusef Lateef,
Andrew Hill,
Nation of Ulysses,
Popol Vuh,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Mr. Review,
Black Moon,
Guru Guru,
The Litter,
Visionaries,LMNO, T- Love & Iriscience,
The Victims,
The Selecter,
Bobby Hutcherson,
Danielle Patucci,
Joe Smooth,
Robert Wyatt,
Gil Scott-Heron and Jamie xx,
Amon Düül II,
Soul Sonic Force,
Spoonie Gee,
The Smiths,
Television Personalities,
Letta Mbulu,
Eyeless In Gaza,
Gichy Dan,
Matthew Bourne,
The Red Krayola,
China Crisis,
Slick Rick,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.