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 Eritrea and from Shanghai.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Alarm Clocks to the techno kids.
I played it at the Troubador.
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 Robert Wyatt. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Gregory Isaacs 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Curtis Mayfield,
Warsaw,
Scientists,
Pharoah Sanders,
Super Lover Cee & Casanova Rud,
Public Enemy,
K-Klass,
The Mummies,
Lou Christie,
Aloha Tigers,
Tommy Roe,
The Fall,
Mr. Review,
Selector Dub Narcotic,
Babytalk,
Dr. Dre and Snoop Doggy Dog,
The Offenders,
Henry Cow,
Los Fastidios,
June of 44,
Jacob Miller,
The Detroit Cobras,
World's Most,
Roy Ayers Ubiquity,
Eric Copeland,
Tom Boy,
The Smiths,
Wighnomy Brothers & Robag Wruhme,
Andrew Ashong & Theo Parrish,
The Doobie Brothers,
R.M.O.,
X-Ray Spex,
The West Coast Pop Art Experimental Band,
The Mojo Men,
Alton Ellis,
Nick Cave & The Bad Seeds,
Ponytail,
Slick Rick,
Barry Ungar,
Jerry Gold Smith,
Gerry Rafferty,
Soulsonic Force,
Arcadia,
Groovy Waters,
The Star Department,
Brand Nubian,
Symarip,
The Moody Blues,
E-Dancer,
The American Breed,
Ludus,
Matthew Bourne,
The Beau Brummels,
Faust,
Basic Channel,
Subhumans,
Sad Lovers and Giants,
Kenny Larkin,
10cc,
Drexciya,
Aural Exciters,
Jesper Dahlbäck,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.