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 Venezuela and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Marc Romboy vs. Booka Shade to the crunk kids.
I played it at the Roxy.
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 Crispy Ambulance. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Flipper 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Lyres,
Yellowson,
Average White Band,
Organ,
The Techniques,
Camouflage,
Dark Day,
Scott Walker,
One Last Wish,
The Wake,
Wire,
Dual Sessions,
Darondo,
The West Coast Pop Art Experimental Band,
Minny Pops,
The Real Kids,
Ponytail,
Lalo Schifrin,
Lou Reed,
Minnie Riperton,
The Gun Club,
Model 500,
The Mojo Men,
Rosa Yemen,
Livin' Joy,
Bobby Sherman,
Saccharine Trust,
The Divine Comedy,
Girls At Our Best!,
Visage,
Morten Harket,
Pete Rock & C.L. Smooth,
Pharaoh Sanders and the Fire Engines,
Fad Gadget,
Yaz,
the Association,
Metal Thangz,
Shoche,
Eric Dolphy,
Ludus,
Fear,
The Sound,
Minor Threat,
Main Source,
Boogie Down Productions,
Barrington Levy,
Sam Rivers,
Simply Red,
Newcleus,
Deutsch Amerikanische Freundschaft,
Eden Ahbez,
Joensuu 1685,
Funkadelic,
Donny Hathaway,
Agitation Free,
The Offenders,
Gary Puckett & The Union Gap,
John Holt,
Monolake,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.