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 Ireland and from Taipei.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Spokane 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Ultramagnetic MC's to the grime 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 Johnny Clarke. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Rapeman,
Bluetip,
Wighnomy Brothers & Robag Wruhme,
A Certain Ratio,
Althea and Donna,
The Invisible,
Don Cherry,
Bobby Byrd,
Kerrie Biddell,
Animal Collective,
Electric Prunes,
The Victims,
Cameo,
X-102,
Little Man,
Godley & Creme,
Icehouse,
Marshall Jefferson,
Gabor Szabo,
Crooked Eye,
Rotary Connection,
Moby Grape,
Swans,
Ajijia Myrayebe,
Danielle Patucci,
Curtis Mayfield,
Q65,
Chrome,
Faraquet,
Ralphi Rosario,
Electric Light Orchestra,
Goldenarms,
Sixth Finger,
Zero Boys,
Al Stewart,
Heavy D & The Boyz,
Gil Scott-Heron and Jamie xx,
ABBA,
Gregory Isaacs,
Bizarre Inc.,
New Age Steppers,
Niagra,
Agitation Free,
Bootsy's Rubber Band,
Warren Ellis,
Gang of Four,
Bobby Womack,
Mo-Dettes,
Lindisfarne,
Bobby Sherman,
London Community Gospel Choir,
Marine Girls,
Eyeless In Gaza,
Babytalk,
Television Personalities,
The Mojo Men,
Cybotron,
Orchestral Manoeuvres in the Dark,
Sällskapet,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.