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 Switzerland and from Edmonton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manila and Delhi.
I'm losing my edge to the art-school Milan 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 guitar 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 Loose Ends to the crunk kids.
I played it at the 40 Watt.
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 Hasil Adkins. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Chrome,
Anthony Braxton,
X-101,
Crooked Eye,
Moby Grape,
Cameo,
The West Coast Pop Art Experimental Band,
Teenage Jesus and the Jerks,
Gerry Rafferty,
Hot Snakes,
Dead Boys,
Gang of Four,
X-Ray Spex,
James Chance & The Contortions,
Gil Scott-Heron & Brian Jackson,
Magma,
The Shadows of Knight,
Intrusion,
Chris Corsano,
Bill Near,
Marmalade,
Minor Threat,
Kool Moe Dee,
Talk Talk,
China Crisis,
Carl Craig,
Con Funk Shun,
Bob Dylan,
Royal Trux,
Blancmange,
Scan 7,
Ultramagnetic MC's,
Delon & Dalcan,
Basic Channel,
Barry Ungar,
Rapeman,
Gong,
Don Cherry,
Half Japanese,
Public Enemy,
Johnny Clarke,
Stetsasonic,
Manfred Mann's Earth Band,
R.M.O.,
Eyeless In Gaza,
Shuggie Otis,
ABBA,
Danielle Patucci,
Chris & Cosey,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Raincoats,
Peter & Gordon,
Sällskapet,
Hardrive,
Harmonia,
Black Pus,
Spandau Ballet,
Heavy D & The Boyz,
Severed Heads,
Dark Day,
Matthew Bourne,
The Searchers, The Searchers, The Searchers, The Searchers.
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.