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 Haiti and from Copenhagen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Paris and Jakarta.
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 oboe sounds with much patience.
I was there when David Bowie 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 The Litter to the disco 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 Kauko Röyhkä ja Narttu. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Gabor Szabo 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 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 spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Supertramp,
Reagan Youth,
Andrew Ashong & Theo Parrish,
Malaria!,
Blake Baxter,
Wally Richardson,
Eric B and Rakim,
Erasure,
Alton Ellis,
Fat Boys,
Colin Newman,
Funky Four + One,
Electric Light Orchestra,
Wighnomy Brothers & Robag Wruhme,
Stockholm Monsters,
Das Ding,
Kool Moe Dee,
Delon & Dalcan,
Morten Harket,
Fela Kuti,
The Toasters,
Shuggie Otis,
Faust,
Simply Red,
Prince Buster,
The Doobie Brothers,
Newcleus,
Fifty Foot Hose,
Josef K,
Letta Mbulu,
The Pop Group,
World's Most,
The Tremeloes,
Chris & Cosey,
The Motions,
Dave Gahan,
Model 500,
Neu!,
Orchestral Manoeuvres in the Dark,
Derrick Morgan,
Gastr Del Sol,
The Buckinghams,
DJ Sneak,
Rapeman,
Boogie Down Productions,
Accadde A,
The Mummies,
Fluxion,
Aloha Tigers,
B.T. Express,
Duran Duran,
Art Ensemble Of Chicago,
The American Breed,
Young Marble Giants,
Talk Talk,
Clear Light,
Danielle Patucci,
Hashim,
Rod Modell,
Glambeats Corp.,
Stetsasonic,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.